A Guide To The Pompeii Excavations 2 PDF

A Guide to the
Pompeii Excavations
BOARD OF CULTURAL
HERITAGE OF POMPEII
© 2015
Board of Cultural Heritage

of Pompeii
This guide contains brief

introductory texts with
reference to the more
significant areas of the
excavations. Some of
them may be temporarily
closed.
It is strictly forbidden to
distribute this leaflet if
no regular permit has
been issued by the Board
of Cultural Heritage of
Pompei.
A Guide to the
Pompeii Excavations
BOARD OF CULTURAL
HERITAGE OF POMPEII
Index
A brief history of the ancient city and the

excavations . . . . . . . . . . . . . . . . . . p. 8
Overall plan of the Pompeii Excavations . . p. 10
Regio I . . . . . . . . . . . . . . . . . . . . p. 12
1 House of the Citharist . . . . . . . . . . . . . . 14
2 House of Casca Longus or Quadretti teatrali . 15
3 Fullery of Stephanus . . . . . . . . . . . . . . 16
4 House of the Lararium of Achilles. . . . . . . . 17
5 House of the Cryptoporticus . . . . . . . . . . 18
6 House of the Ceii . . . . . . . . . . . . . . . . . 19
7 House of the Menander . . . . . . . . . . . . . 20
8 House of Paquius Proculus . . . . . . . . . . . 21
9 House of the Ephebe. . . . . . . . . . . . . . . 22
10 House and Thermopolium of Vetutius Placidus 23
11 House of the Orchard or of the Floral Cubicles 24
12 House of the Europa Ship . . . . . . . . . . . . 25
13 Osteria of the Gladiator . . . . . . . . . . . . . 26
14 Garden of the Fugitives . . . . . . . . . . . . . 27
Regio II. . . . . . . . . . . . . . . . . . . . p. 28
1 House of Octavius Quartio . . . . . . . . . . . 30
2 House of Venus in the shell . . . . . . . . . . . 31
3 Praedia of Giulia Felice . . . . . . . . . . . . . . 32
4 Forum Boarium . . . . . . . . . . . . . . . . . . 33
5 Amphitheater . . . . . . . . . . . . . . . . . . . 34
6 Large Palaestra . . . . . . . . . . . . . . . . . . 35
7 House of the Triclinium outdoors or summer . 36
8 House of the Garden of Hercules . . . . . . . . 37
9 Nocera Gate and walls . . . . . . . . . . . . . . 38
10 Necropolis of Nocera Gate . . . . . . . . . . . 39
4
Regio III . . . . . . . . . . . . . . . . . . . p. 40
1 House of Trebio Valente . . . . . . . . . . . . . 42
2 House of the Moralist . . . . . . . . . . . . . . 43
3 Nola Gate and walls . . . . . . . . . . . . . . . 44
4 Necropolis of Nola Gate . . . . . . . . . . . . . 45
Regio V. . . . . . . . . . . . . . . . . . . . p. 46
1 Gladiators Barracks . . . . . . . . . . . . . . . . 48
2 House of Marco Lucretius Frontone . . . . . . 49
3 House of the Silver Wedding . . . . . . . . . . 50
4 House of Cecilio Giocondo . . . . . . . . . . . 51
5 Necropolis of Porta Vesuvio . . . . . . . . . . . 52
Regio VI . . . . . . . . . . . . . . . . . . . p. 54
1 House of the Faun . . . . . . . . . . . . . . . . 56
2 House of the Anchor . . . . . . . . . . . . . . . 57
3 House of the Small Fountain . . . . . . . . . . 58
4 House of the Tragic Poet . . . . . . . . . . . . 59
5 Thermopolium . . . . . . . . . . . . . . . . . . 60
6 House of Pansa . . . . . . . . . . . . . . . . . . 61
7 House of the Oven . . . . . . . . . . . . . . . . 62
8 House of Sallust . . . . . . . . . . . . . . . . . 63
9 House of Adonis wounded . . . . . . . . . . . 64
10 House of Castor & Pollux . . . . . . . . . . . . 65
11 House of the Vettii . . . . . . . . . . . . . . . . 66
12 House of the Golden Cupids . . . . . . . . . . 67
13 House of the Ara Maxima . . . . . . . . . . . . 68
14 Castellum Aquae . . . . . . . . . . . . . . . . . 69
15 House of the Prince of Naples . . . . . . . . . 70
16 House of Meleager . . . . . . . . . . . . . . . . 71
17 House of Apollo . . . . . . . . . . . . . . . . . 72
18 House of the Surgeon . . . . . . . . . . . . . . 73
19 Herculaneum Gate and walls . . . . . . . . . . 74
20 Necropolis of the Herculaneum Gate . . . . . 75
21 Villa of Diomede . . . . . . . . . . . . . . . . . 76
22 Villa of the Mysteries . . . . . . . . . . . . . . . 77
5
Index
Regio VII. . . . . . . . . . . . . . . . . . . p. 78
1 Suburban Baths . . . . . . . . . . . . . . . . . . 80
2 Marina Gate and walls . . . . . . . . . . . . . . 81
3 House of the Sailor . . . . . . . . . . . . . . . . 82
4 Sanctuary of Apollo . . . . . . . . . . . . . . . 83
5 Forum . . . . . . . . . . . . . . . . . . . . . . . 84
6 Mensa Ponderaria . . . . . . . . . . . . . . . . 85
7 Forum Granary . . . . . . . . . . . . . . . . . . 86
8 Temple of Jupiter . . . . . . . . . . . . . . . . . 87
9 Honorary Arches . . . . . . . . . . . . . . . . . 88
10 Forum Baths . . . . . . . . . . . . . . . . . . . 89
11 Temple of Fortuna Augusta . . . . . . . . . . . 90
12 Macellum . . . . . . . . . . . . . . . . . . . . . 91
13 Sanctuary of the Public Lares . . . . . . . . . . 92
14 Temple of Genius Augusti (Temple of Vespasian) . 93
15 Portico of Concordia Augusta (Building of
Eumachia) . . . . . . . . . . . . . . . . . . . . 94
16 Stabian Baths . . . . . . . . . . . . . . . . . . . 95
17 House of Sirico . . . . . . . . . . . . . . . . . . 96
18 Lupanar . . . . . . . . . . . . . . . . . . . . . . 97
19 Bakery of Popidio Prisco . . . . . . . . . . . . 98
20 House of the Ancient Hunt . . . . . . . . . . . 99
21 House of Marcus Fabius Rufus and the Golden
Bracelet . . . . . . . . . . . . . . . . . . . . . .100
6
Regio VIII . . . . . . . . . . . . . . . . . . p. 102
1 Sanctuary of Venus . . . . . . . . . . . . . . . .104
2 Basilica. . . . . . . . . . . . . . . . . . . . . . . 105
3 Comitium and municipal buildings . . . . . . .106
4 House of Championnet . . . . . . . . . . . . . 107
5 House of the Geometric Mosaics . . . . . . . .108
6 House of the red walls . . . . . . . . . . . . . .109
7 Triangular Forum . . . . . . . . . . . . . . . . . 110
8 Doric Temple - Sanctuary of Athena and Hercules . 111
9 Samnite Palaestra. . . . . . . . . . . . . . . . . 112
10 Large Theatre . . . . . . . . . . . . . . . . . . . 113
11 Quadriporticus of the theatres or Gladiators
Barracks . . . . . . . . . . . . . . . . . . . . . . 114
12 Small Theatre - Odeon . . . . . . . . . . . . . . 115
13 Temple of Aesculapius or Jupiter Meilichios . 116
14 Temple of Isis . . . . . . . . . . . . . . . . . . . 117
15 House of the Cornelii . . . . . . . . . . . . . . 118
Regio IX . . . . . . . . . . . . . . . . . . . p. 120
1 House of Marcus Lucretius in via Stabiana . . . 122
2 Central Baths . . . . . . . . . . . . . . . . . . . 123
3 House of Obelius Firmus. . . . . . . . . . . . . 124
4 House of Julius Polybius . . . . . . . . . . . . . 125
5 Insula of the Lovers Chaste . . . . . . . . . . . 126
Glossary . . . . . . . . . . . . . . . . . . . . p. 128
Alphabetical index . . . . . . . . . . . . . . p. 134
Rules for visiting the excavations . . . . . . p. 141
7
A brief history of the ancient
city and the excavations
Pompeii rises on a plateau at about 30 metres

above sea level, formed by a flow of Vesuvian lava,
overlooking the valley of the River Sarno at the
mouth of which there was a busy port. The origins
of the city remain uncertain. The oldest evidence
available dates back to the late 7th up to the first half
of the 6th century BC, when the first city walls made
of tuff, called 'pappamonte', were built to enclose an
area of 63.5 hectares.
A mixed population of Etruscans, Greeks and
indigenous people, which led to the development of
the city and the construction of a fortified limestone
wall according to the Greek system (5th century BC).
Towards the end of the 5th century BC, the
Samnites descended from the mountains of Irpinia
and Sannio, swarmed into the plains of what is
today called the Campania region (which means
"fertile plains") and conquered the cities near Mount
Vesuvius and the coast in a league with the capital,
Nuceria (Nocera).
Pompeii was highly urbanised during the Samnite
period: a new fortification constructed in Sarno
limestone, which dates back to the 4th century
BC, had to trace a path similar to the previous
one. Towards the end of the 4th century BC, the
movements of the Samnite population unsettled the
political order, thereby forcing Rome to intervene
in southern Italy: alliances and successful military
campaigns led to its hegemony throughout the
Campania region (343-290 BC). Pompeii then
joined the political organisation of the Roman res
publica as an ally, however, in 90-89 BC, together
with other Italic populations, the city rebelled
and demanded equal social and political dignity
as Rome. Pompeii was besieged by the troops of
Lucius Cornelius Sulla and the city surrendered and
8
became a Roman colony by the name of Cornelia
Veneria Pompeianorum (80 BC).
Once the colony was founded, Pompeii was
enriched with private and public buildings and
further embellished particularly under the ruling of
Emperor Augustus (27 BC - 14 AD) and Emperor
Tiberius (14-37 AD).
A violent earthquake struck in 62 AD and shook
the entire area surrounding Mount Vesuvius.
Reconstruction works in Pompeii began
immediately, however, they took a long time to be
completed due to the extent of the damage and the
seismic swarm that followed. The sudden eruption
of Vesuvius 17 years later, on August 24, 79 AD,
buried Pompeii under ash and lapilli, creating what
seemed to be an open construction site. The city
was rediscovered at the end of the 16th century
but explorations only began in 1748, under the King
of Naples, Charles III of Bourbon, and continued
systematically throughout the 19th century, right
up to the most recent excavations, restorations and
enhancement of the city and its exceptional heritage
of architecture, sculptures, paintings and mosaics.
The archaeological site of Pompeii spreads over 66
hectares, 49 of which have already been excavated.
In 1858, due to the exigencies of study and
direction, Giuseppe Fiorelli divided the city into
regiones (neighborhoods) and insulae (blocks).
The names of the houses when the owner was not
known were coined by the excavators according to
the particular discoveries or other criteria.
9
Overall plan of the
Pompeii Excavations
In the following pages, the terms mentioned

in the glossary are marked with an asterisk (*).
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Regio I
1 House of the Citharist ................................................page 14
2 House of Casca Longus or Quadretti teatrali .....15
3 Fullery of Stephanus ............................................... 16
4 House of the Lararium of Achilles .........................17
5 House of the Cryptoporticus ................................. 18
6 House of the Ceii ..................................................... 19
7 House of the Menander ..........................................20
8 House of Paquius Proculus .................................... 21
9 House of the Ephebe............................................... 22
10 House and Thermopolium of V. Placidus ........... 23
11 House of the Orchard or of the Floral Cubicles 24
12 House of the Europa Ship ...................................... 25
13 Osteria of the Gladiator ..........................................26
14 Garden of the Fugitives ........................................... 27
REGIO I
1
House of the Citharist

DOMUS POPIDI
SECUNDI AUGUSTANI
The house, one of the largest in the city covering an

area of 2700 m², takes up almost an entire block and
reached such dimensions thanks to the progressive
incorporation of various properties. This complex
construction led to the development of an irregular
plan, with two atriums* and three peristylia*, which
form the most rich and lavish dwelling. The central
peristylium has a swimming pool around which
there were bronze sculptures of a wild boar attacked
by two dogs, a lion, a deer and a snake all with
fountain jets that created spectacular water features,
according to the popular models in the richer
Vesuvian villas.
The house reached the current dimensions in the 1st
century BC and its name derives from the discovery
of a bronze statue of Apollo playing the lyre. He
was a member of the powerful Popidii family, as
suggested by the graffiti and electoral inscriptions in
the house.
Date of excavation: 1853-1861; 1872; 1929; 1933.
14
REGIO I
2
House of Casca Longus

or Quadretti teatrali
The complex is composed of two adjoining houses

which date back to the 2nd century BC and which
today are used as a primary and secondary atrium*.
The most important paintings of the atrium are of
high level, which replaced previous decorations and
theatrical scenes, in the Augustan era, inspired by
the tragedies of Menander.
The whole environment is very elegant: the
impluuium* bath is covered in coloured marble and
the compluuium* that drains the rainwater is entirely
rebuilt and decorated with pictorial terracotta water
spouts. On one side of the impluuium there is the
characteristic table held by three marble supports
with lion-paw shaped feet that bear the engraved
name of the original owner, Publius Servilius Casca
Long(us), one of the conspirators who killed Caesar
in 44 BC. The remarkable piece forms part of the
confiscated property pertaining to the assassination
of Julius Caesar and derived from the furnishings
of the wealthy owner of this house, a collector of
valuable items, as substantiated also by the silver
plate and a bronze statue found in the cabinets
found in the atrium.
Date of excavation: 1912; 1926-1927.
15
REGIO I
3
Fullery of Stephanus
This production facility, designed for the washing

of dirty laundry and degreasing fabric that had just
been threaded, was built in the last stage of the
life of the city, transforming the structure from
an original house to an atrium*. A large bath was
placed at the centre of the atrium, instead of the
impluuium*, and a skylight was placed instead of
the previous compluuium* so as to use the upper
part as a terrace to dry the laundry and other baths
were placed in the garden, at the back of the house.
When the excavators exposed the fullery (laundry) a
skeleton was found near the entrance, which bore
a hoard of coins. Based on electoral inscriptions it
is supposed that Stephanus was the owner of the
fullery, who died during the eruption in 79 AD while
trying to escape with the latest collections. The
collaborators of Stephanus, almost all slaves, had
to tread on fabrics and clothes for hours, placed
under a liquid containing human and animal urine,
collected in pots placed along the streets, which
intended to treat the fabrics.
Date of excavation: 1912-1913.
16
REGIO I
4
House of the Lararium

of Achilles
The house has a rich and refined pictorial decoration

with cultured literary references. It owes its name to
the stucco decoration of a room that opens near the
atrium*, which probably consisted of a small home
chapel, with scenes of the Trojan War. The choice of
this theme, which is also linked to certain frescoes
of the House of the Cryptoporticus (see page 18),
suggests the probable intention of the owner of the
house to enhance the origins of his family, linking
them with the history of Rome. One of the rooms
facing the garden was decorated with a large fresco
with two huge elephants led by cupids who use
myrtle branches as reins, the sacred plant of Venus.
The scene is probably interpreted as a celebration of
the power of the goddess.
17
REGIO I
5
House of the
Cryptoporticus
The house, with its elegant wall decoration, was

linked with the development of the building
complexes and for more than three centuries was
often separated or joined with the adjacent House of
the Lararium of Achilles (see page 17) following
the alternation of the owners, by doors and passages
being closed.
At the end of the courtyard, where one finds the
lararium*, there are two staircases that lead to the
two different floors of the house; the ascending ramp
leads to the triclinium* used for banquets and the
kitchen found under the porch, where the victims of
the eruption are found. The descending ramp leads
to a large indoor corridor, the cryptoporticus, after
which the house is named, decorated with frescoes
of Satyrs and Maenads and a frieze depicting scenes
from the Trojan War, which unravels like an illustrated
scroll, a very popular theme following the publication
of the Aeneid, the epic poem by Virgil. The vault is
decorated with wreaths and floral and geometric
motifs in stucco. The room was used as a cellar
during the last period of life of the house. The bath
complex opens up in front of the staircase, one of
the few private baths documented in Pompeii; four
rooms are left with rich stucco decoration.
18
REGIO I
6
House of the Ceii
The severe façade of the house, featuring panels of

white stucco and cubic capitals placed above the
door jambs, allows us to appreciate one of the rare
examples of ancient dwellings in the late-Samnite
period (2nd century BC). Upon entering the house
one notices the impluuium* bath which is made of
fragments of amphorae set on edge, a common
technique used in Greece and attested in Pompeii
also in the House of the Ancient Hunt. The back
wall in the small garden is decorated with wild
animals, a highly successful theme in the decoration
of open areas. The side walls depict Egyptian style
landscapes with animals of the Nile Delta, which
probably indicated a link between the owner of the
house and the cult of Isis, widespread in Pompeii in
the last years of life of the city.
Based on an electoral inscription painted on
the façade, the house probably belonged to the
magistrate Lucius Ceius Secundus.
19
REGIO I
7
House of the Menander
This large house was involved in the development

of building complexes and is a typical example of a
home of a high-ranking family.
The atrium* has frescoes with scenes from the Iliad
and the Odyssey.
The peristyle* is rhodium-shaped, with the north
side higher. The house owes its name to a picture
of Menander, an Athenian playwright, placed in the
portico.
The house has a small thermal area below which
there is a basement, perhaps a cellar, where a box
was found with 118 pieces of silverware, now on
display at the National Archaeological Museum of
Naples. This treasure had been hidden before the
restoration works began and constituted the family
service. The crockery included shapes to serve
wine but mostly plates and cups used at banquets.
The south side leads to the rustic area, where the
reconstruction of a wagon is exposed.
The house belonged to Quintus Poppaeus Sabinus
of the Poppei family, relatives of the Empress
Poppea Sabina, Nero's second wife
Date of excavation: 1928; 1930; 1932.
20
REGIO I
8
House of Paquius Proculus
The first layout of the

house dates back to the
Samnite* period (2nd
century BC) as indicated
by the cubic capitals at
the entrance, where the
mosaic floor depicting a
chained dog crouched in
front of an open door is
preserved. This subject is
found in Pompeii in the decorations of the Imperial
period as a symbol of the custody of the dwelling.
The atrium* is entirely covered with fine panelled
mosaic with multi-coloured animals alluding to
prosperity, and two portraits, one male and one
female. The decorations of the residential areas
open to the peristylium* are also of high level: floors
inlaid with precious marble and refined figurative
mosaics, made with tiny multi-coloured tiles on
supports and placed at the centre of mosaic floors.
That of the triclinium* depicts the comic scene
of six pygmies fishing created by a famous studio
active in the city, another picture that was detached
and preserved at the National Archaeological
Museum of Naples is the scene of a donkey that
gives way under the weight of a drunken Silenus.
The house is attributed to Publius Paquius Proculus
or, according to others, to Caius Cuspius Pansa,
both mentioned in the several electoral posters
painted on the façade.
Date of excavation: 1911; 1912; 1923-1926.
21
REGIO I
9
House of the Ephebe
Typical dwelling of middle class merchants,

enriched at the end of the 1st century AD thanks to
commercial trade, composed by the aggregation of
several houses. The most lavish area of the house
is located around the garden and a large triclinium*
overlooks its porch with a centre box of the floor
decorated with inlaid marble, opus sectile*, with
rosettes and lotus flowers, unique in the Pompeii
landscape. There is a small chapel in the garden
dedicated to worship, decorated by a large painting
of Mars and Venus. A number of statues, originally
in the garden, were moved to other rooms of the
house at the time of the eruption to avoid being
damaged by the restorations in progress. Among
these is a remarkable bronze statue of Ephebe,
reworking of Greek themes of the 5th century BC,
which is now found at the National Archaeological
Museum in Naples, adapted for use as a lamp bearer,
which gave its name to the house.
The house probably belonged to Publius Cornelius
Tages, a wine merchant whose name appears in the
electoral inscriptions read near and on amphorae
found inside the dwelling.
Date of excavation: 1912; 1925.
22
REGIO I
10
House and Thermopolium

of Vetutius Placidus
The thermopolium (Latin word formed from

Greek words) of Vetutius Placidus opens on via
dell’Abbondanza and represents social mobility in
Pompeii in Roman times, where merchants and
craftsmen also held a high social status, reserved
only to landowners in older times. Drinks and
hot food were served in this place, as the name
indicates, stored in large jars placed in the richly
decorated masonry counter of the tavern. The
news stand* on the back wall is of great interest;
extremely well-maintained, it consists of a lararium*
dedicated to the protectors of the household
(Lari), the Genius protector of the owner, as well
as the god of trade (Mercury) and the god of wine
(Dionysus). The house is at the rear, interconnected
with the shop, decorated with precious frescoes and
a triclinium* for outdoor dining.
A hoard of nearly 3 kg (6.6 lb) of coins was found
in one of the large clay jars placed in the counter,
probably the last collections of the host, thereby
attesting the profitable activity of the tavern.
23
REGIO I
11
House of the Orchard

or of the Floral Cubicles
The house has an atrium* layout with a green area at

the back and preserves the most beautiful painting
of a city garden. In contrast to that found in other
houses, the painting of the garden was not reserved
for reception rooms but used in the private area of
the house in two small, elegant cubicles*, relaxation
areas. The garden depictions are also enriched by
Egyptian style motifs, the attributes of Isis, which
perhaps allude to the owner's devotion to the
goddess.
The first of the two cubicles has a garden with
ornamental and fruit plants set up with extreme
precision so as to allow the plant species, such as
lemons and strawberry trees, to be recognised. The
second cubicle* has 3 trees of different size, the
larger middle one, a fig tree, being a refuge for a
snake, a symbol of prosperity.
24
REGIO I
12
House of the Europa Ship
Just like the fullery of Stephanus (see page 16)

and the House of the Oven (see page 62) in this
case, an original house was transformed by adapting
the rooms to production and business activities,
which in this case were agricultural. Beans, onions,
cabbage and fruit trees are cultivated in the large
garden; a room was used as a stable for animals.
The previous splendour and high social standing
are attested by the monumental columns of the
peristylium* and the wall decorations preserved in
some areas, such as that on the left of the current
entrance. Besides the imitation masonry in coloured
stucco, the semi-columns at the top of the walls
are remarkable, a type of decoration derived
directly from Greek models of the third and second
centuries BC, very rare in Pompeii.
The modern name of the house derives from the
presence of graffiti etched on the north wall of the
peristylium*, where one sees a large cargo ship
called "Europa" flanked by smaller vessels.
Date of excavation: 1951-1961; 1972-1973; 1975.
25
REGIO I
13
Osteria of the Gladiator
The complex is formed by the union of several

housing units that were demolished or renovated
after the earthquake of 62 AD and opens on via di
Nocera. The entrance provides access to a vineyard
equipped with a closed cellar, an area for pressing
grapes and a large summer triclinium* protected by
a pergola.
A furnace was provided in other areas to produce
small pots and lamps.
A small tuff statue of a gladiator, now on display in
the Antiquarium, gave its modern name to the home
and is testimony of the guests of the very popular
business during the games which took place in the
nearby Amphitheatre.
The vineyard has been transplanted since 2005,
according to the layout documented at the time of
the eruption.
Date of excavation: 1954-1955; 1958-1959.
26
REGIO I
14
Garden of the Fugitives
This area, once taken up by homes, had been

transformed in a vineyard in the years preceding the
eruption, with a triclinium* for outdoor banquets
covered by a pergola.
13 victims, adults and children, were found at various
points inside the enclosure, seized by death while
trying to find a way out of Nocera Gate, running
above the layer of pumice stones that had already
reached a height of 3.5 m. The flight was interrupted
by the arrival of the pyroclastic* flow, which was
fatal due to asphyxiation and high temperatures.
The casts of the 13 victims can now be seen near
the back wall of the garden, in a glass case.
27
Porta Sarno
Necropoli di P. Nocera
O
Torre III
TR
EA
N FIT
EA
AL
ZZ
PIA
4
Porta Nocera
TR
EA
FIT
’AN
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10
DE
linio
6
O
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VIC
Via P
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9
CI
3
RI
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Regio II
IA
A
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VI
8
GI
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2
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7
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Torre II
US
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IA
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Necropoli
di P. Sarno
Torre VI
Torre V
Torre IV
V IA
LE D
EL
L’A N
F IT E
AT R
O
Via Plinio
Piazza Anfiteatro
1 House of Octavius Quartio . . . . . . . . . . . 30

2 House of Venus in the shell . . . . . . . . . . . 31
3 Praedia of Giulia Felice . . . . . . . . . . . . . . 32
4 Forum Boarium . . . . . . . . . . . . . . . . . . 33
5 Amphitheater . . . . . . . . . . . . . . . . . . . 34
6 Large Palaestra . . . . . . . . . . . . . . . . . . 35
7 House of the Triclinium outdoors or summer . 36
8 House of the Garden of Hercules . . . . . . . . 37
9 Nocera Gate and walls . . . . . . . . . . . . . . 38
10 Necropolis of Nocera . . . . . . . . . . . Gate 39
REGIO II
1
House of Octavius Quartio
The house, which looks like a "miniature version"

of the grand aristocratic villas scattered in the
countryside outside the city, is a type of dwelling
used by the Pompeian elite just before the eruption.
The entrance area partly preserves the original layout
with a traditional atrium*; whereas, the garden
extends on two areas located at different heights and
are characterised by two artificial waterways (euripi*)
perpendicular to each other, animated by waterfalls
and fountains. The references to Egypt and to the
goddess Isis found on the wall decorations, in the
several marble statues and also in the architecture of
the garden are particularly interesting.
Two rooms face the two ends of the upper euripus*:
a small room on the west which appears to be
a shrine dedicated to the goddess Isis; a double
bed on the east for outdoor dining (biclinio) and a
niche that acts as a cave decorated with frescoes
with mythological themes. The artist is a certain
Lucius who affixed his own signature. The owner, as
evidenced by a seal, was Decimus Octavius Quartio,
a member of the board of dedicated Augustans to
the cult of the emperors. It is also known as House
of Loreio Tiburtino
Date of excavation: 1916; 1918; 1921; 1933-1935;
1973.
30
REGIO II
2
House of Venus in the shell
The house was built in the 1st century BC and

underwent a number of significant changes in its
internal layout. Just like in the House of the Vettii
(see page 66), the tablinum* is sacrificed for the
garden with peristylium* which becomes the focal
point of the house around which there are various
frescoed rooms, including the enormous oecus*
second to that of the House of Menander only in
size (see page 20).
The back wall of the peristylium is decorated with
the great and spectacular fresco with Venus, which
gives the house its name. On the lower part, a
luxurious garden is depicted over a barrier with
exotic plants and animals. The upper part of the wall
is divided into three panels with different scenes:
to the right, a fountain that birds drink from; to the
left, a statue of Mars with a spear and shield on a
pedestal. In the centre, two cherubs accompany
Venus, protectress of Pompeii and the erotic sphere,
lying in a large shell.
The goddess, completely naked, wears only a tiara
on her head and jewellery around her neck, wrists
and ankles. The house belonged to a branch of the
family of the Satrii, very prominent in the last few
years of the city.
31
REGIO II
3
Praedia of Giulia Felice
The large complex of properties of Giulia Felice

is implemented at the end of the 1st century BC
following the incorporation of previous buildings
into a single building complex set as an "urban
villa", characterised by the predominance of green
areas. The property is set into four different cores
with separate entrances: an atrium* house, a large
garden which opens on a number of residential
areas, a thermal facility and a large park.
The name Giulia Felice was found in an inscription
painted on the façade after the disastrous
earthquake of 62 AD when the owner announced
the lease of part of her property, which is now at
the National Archaeological Museum of Naples. A
unitary decorative renovation of most rooms dates
back to this era, on which the summer triclinium*
stands out as a cave with water features around
the enjoyable bases, which opens onto the portico
enhanced with marble pillars. The garden has
a euripus*, which creates an idyllic-sacral area,
whereas all the spa area, which is richly decorated,
is canonical. The house was one of the first to be
excavated.
Date of excavation: 1754-1757; 1912; 1933-1934;
buried and unearthed in 1951-1952.
32
REGIO II
4
Forum Boarium
When the first excavations took place, in the early

19th century, this large block had been deemed to
be the Forum Boarium, that is the market area where
cattle was sold, based on the discovery of many
cattle bones. However, subsequent archaeological
investigations revealed traces of a large cultivated
vineyard according to the vitis compluviata system
described in ancient sources, which consists of
branches arranged from top to bottom so as to
create four festoons.
Next to the main entrance two masonry triclinia*
were meant to welcome the patrons during the
shows at the nearby amphitheatre; another is found
in the Northwest section of the area. Here lie also
the wine press and 10 large terracotta containers
sunken into the ground, which were designed to
contain the harvest output which was estimated to
be 120 hectolitres.
Today the area hosts an experimental vineyard,
where vines have been planted.
Date of excavation: 1813-1814; 1933-1935; 1954-
1955; 1968-1972.
33
REGIO II
5
Amphitheater
This amphitheatre is the oldest among those known

in the Roman world. Built in 70 BC, just before the
colony was founded, on the initiative of magistrates
Caius Quinctius Valgus and Marcus Porcius who also
had the Odeon buil(vedi pag. 32).
It could hold up to 20,000 spectators not only
from Pompeii but also from neighbouring towns.
The building is located in a peripheral area so as to
facilitate the movement of so many people.
External staircases with two flights provide access to
the upper steps and a downward corridor provides
access to the lower steps. The arena is separated
from the area intended for the spectators by a
parapet and has fresco paintings of gladiators; the
upper part has inscriptions that are still legible with
the names of the magistrates who had the steps
built.
In 59 AD the cheering of the audience led to a
bloody brawl between the people from Pompeii and
those from Nocera.
As a result of these riots, the Senate of Rome
decided to close the arena in Pompeii for ten years,
however, this measure was withdrawn in 62 AD,
after the disastrous earthquake struck the city.
34
REGIO II
6
Large Palaestra
The "Large Palaestra" consists of a large open air

square, approximately 140 x 140 m, surrounded
by porticoes and enclosed by a high wall with
battlements in which there are 10 doors. All that is
left of the centuries-old plane trees that were on the
three sides of the great courtyard at the time of the
eruption are moulds of the roots and there lies a 23
x 35 m pool at the centre.
It was built in the Augustan period, at the beginning
of the 1st century AD, and was intended for the
physical and intellectual training of young citizens.
Many erotic or poetic left graffiti have been left by
visitors on the walls and columns.
Numerous victims were found during the excavation
who had looked for a refuge or a way to escape
through the building in vain.
The Palaestra hosts the permanent exhibition of the
grand frescoes and artefacts found in the Complex
of the Moregine Triclinia*, a distinguished building
situated about 600 metres away from the site of
Pompeii, at the river port.
35
REGIO II
7
House of the Triclinium

outdoors or summer
Overlooking via di Nocera, behind the Large

Palaestra, the house has an area with limited space
available and the aggregation of several independent
cores.
The large garden encloses a modern vineyard, which
represents that which existed in the same place in
79 AD. The current vines were placed next to the
moulds of the old roots and are grown according to
the old techniques of the time. The area is ennobled
by the presence of the summer triclinium* that
named the house, consisting of two twin niche
fountains covered with mosaics made of glass paste,
pumice stone and shells.
36
REGIO II
8
House of the Garden

of Hercules
It falls under the terraced type of homes, atrium*

houses with no side chambers, which are typical
in this area of the city. The entrance leads to the
courtyard which gives access to the large garden
at the end of the house, with irrigation canals.
The pollen analyses allowed this garden to be
considered a place of cultivation of flowers (roses,
violets, lilies).
Ancient literary sources explain how these essences
were used in ointments, which were stored and
sold in small terracotta and glass containers, found
here in large quantities. The house, therefore, was
also used as a shop for the production and sale of
perfumes.
It can be dated back to the 3rd century BC and owes
its name to the marble statuette of Hercules found
in a small aedicula* in the eastern part of the garden.
Date of excavation: 1953-1954; 1971-1973; 1984.
37
REGIO II
9
Nocera Gate and walls
The original layout of this gate, which provided

access from the road that led to Nocera to the
south-east of the city, dates back to the Samnite*
era (4th century BC) although the currently visible
appearance is the result of various subsequent
restorations.
The gate has architectural similarities with Nola
Gate and Stabia Gate: there is a room with a barrel
vault where the actual gate was located and an aisle
thereafter with two bastions at the ends to protect
the entrance.
It is made of limestone blocks and appears very high
due to the road surface having been subsequently
lowered. The adjacent walls are formed by a double
wall made of limestone blocks with a walkway,
which is on an embankment.
Date of excavation: 1799; 1814; 1952; 1954; 1984.
38
REGIO II SUBURBAN
10
Necropolis of Nocera Gate
The necropolis is set on the sides of a road that runs

parallel with the city walls.
There are several burial monuments that exemplify
the most popular models at the beginning of the
1st century BC, the period when the necropolis
began to be visited, and 79 AD. These include the
tomb of Eumachia, the priestess who devoted a
large building in the Forum (see page 94). Here,
inside an enclosure, there is the high basis* over
which a semi-circular (exedra*) opens up, inside of
which the burial chamber is found. Two tombs are
seen on the sides of the tomb of Eumachia, with
a basis surmounted by an aedicula* that hosts the
statues of the deceased. However, the simplicity
distinguishes the enclosed tombs in which the ashes
of the deceased deposited in the urns are placed in
earthen pits or in the base of the monument. The
poorer tombs are evidenced by the presence of
rough stone busts called "columelle". The cippus of
Titus Suedius Clemens, the magistrate who was sent
by Emperor Vespasian to rectify the unauthorised
constructions in the city after the earthquake of
62 AD, can be seen from near the centre of the
intersection of the road that goes from Nocera gate
and the path along which the Necropolis is found.
39
Regio III
Torre VIII
Necropoli di P. Nola
4
Porta di Nola
3
LA
I NO
AD
VI
2
’AB
LL
DE
A
VI
1
VI
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VIC
DE
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TR
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AQ
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1 House of Trebio Valente . . . . . . . . . . . . . 42
2 House of the Moralist . . . . . . . . . . . . . . 43
3 Nola Gate and walls . . . . . . . . . . . . . . . 44
4 Necropolis of Nola Gate . . . . . . . . . . . . . 45
Torre VII
Necropoli
di P. Sarno
Porta Sarno
VIC
OL
O
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’AN
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VI
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’
REGIO III
1
House of Trebio Valente
The house, with its lobby in the atrium* and

peristylium*, is considered a typical house from the
era of the Roman Republic. Its façade, destroyed
by the Anglo-American bombings in 1943, showed
the most impressive example of mural advertising
in the ancient world, covered with black painted
inscriptions, a small part of which, on the eastern
side, are preserved.
The inscriptions have provided a vivid picture of
everyday life in the city with countless electoral
programs and advertisements of games that would
have been held in the amphitheatre.
The garden that opens up at the back of the
house hosts a summer triclinium* with lively wall
decorations in coloured boxes covered by a pergola
that is supported by four columns.
The house belonged to the Trebii family, one of
the most powerful in the city before the Roman
conquest and again in the foreground in recent
years prior to the eruption.
42
REGIO III
2
House of the Moralist
The house derives from two different homes being

merged. Almost one third is taken up by a large
garden that houses a triclinium* for banquets that
took place during the summer months, and the
walls of which are frescoed with images of birds
pecking fruits and berries. The walls also bear
painted inscriptions that gave the house its name
and that list a number of precepts on the expected
behaviour during festive occasions, how to avoid
disputes, how to ward off the looks of other men's
wives and how to wash one's feet.
A small place of worship located in the garden
and dedicated to Diana, as evidenced by a marble
statuette found here, could also be admired from
the triclinium.
The house probably belonged to wine merchants:
Marcus Epidius Hymenaeus, Caius Arrius Crescens
and Titus Arrius Polites, whose names appear on five
electoral posters on the façade of the house.
43
REGIO III
3
Nola Gate and walls
Nola Gate is called so because it led to the road that

led to the old centre of Nola.
An inscription in the Oscan language on the façade
of the gate, which is now found in the British
Museum, attributes the construction to the highest
official in charge, Vibius Popidius, in the Samnite*
era (3rd century BC). The Gate has hangings in
regularly overlapped tuff blocks and a barrel vault
made of concerete, that is a mixture of mortar and
stones.
The head of the goddess Minerva is carved in the
keystone of the internal arch to protect the entrance
to the city. The Gate has two bastions before it to
which the walls are grafted: they would force any
attacker to go over a narrow and very dangerous
gorge with his side unprotected by the shield. Upon
leaving the city, approximately 100 m of the section
of wall on the right was reconstructed during the
1st century BC with the cement technique, that is
a mixture of mortar and stones. And the left side
retains the original structure with a limestone base
and made higher with tuff.
Date of excavation: 1813.
44
REGIO III SUBURBAN
4
Necropolis of Nola Gate
Only four monumental tombs are known: two

semi-circular seat-type and two burial ground-
type. The best-preserved seat-type tomb has a
column surmounted with a marble pot and was
built for Aesquilia Pollia, who died at the age of 22,
by her husband. The other tomb is anonymous and
belonged to a priestess from Cerere, the protector
of harvests, as indicated by the cist and spikes on
the base of the burial column. To the west there
is an enclosed tomb with an inscription on the
fronton that bears the name of the deceased,
Marcus Obellius Firmus, one of the most important
magistrates of the city and owner of a grand house
near Nola Gate.
Here, 15 victims of the eruption were found
and their mould was made. The tombs of four
Praetorians are found near the walls, the guards of
the emperor, remembered in the inscriptions on
marble stelae.
Date of excavation: 1907-1908; 1978.
45
Regio V
1 Gladiators Barracks . . . . . . . . . . . . . . . . 48
2 House of Marco Lucretius Frontone . . . . . . 49
3 House of the Silver Wedding . . . . . . . . . . 50
4 House of Cecilio Giocondo . . . . . . . . . . . 51
5 Necropolis of Porta Vesuvio . . . . . . . . . . . 52
Torre I
Necropoli di P. Vesuvio
5
Porta Vesuvio
Torre X
VI
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VIC
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D’
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Torre VIII
1
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VI
REGIO V
1
Gladiators Barracks
The building constituted the headquarters of the

corporation of gladiators and was used for their
training, as indicated by the 120 gladiatorial theme
inscriptions found inside the building. After the
earthquake of 62 AD the structure changed its
function and became a private home, probably
based on the decision taken by the Senate of Rome
to dissolve such associations after a violent riot
broke out between the people from Pompeii and
those from Nocera, who flowed en masse into the
amphitheatre in 59 AD to support their favorite
gladiators.
It is accessed via two ramps that lead to a large
peristylium* with 24 columns; the spaces between
the columns were closed with low walls decorated
with hunting scenes and mythological themes, such
as Europa on the bull. Reception rooms overlook
the peristylium, such as triclinia* and exedras*
and living rooms are found on the south side. The
building was also equipped with a stable, built at a
later time.
The building was built around the middle of the 1st
century BC.
Date: 1842; 1890-1899; 1905; 1947; 2004-2005.
48
REGIO V
2
House of Marco Lucretius

Frontone
DOMUS M. LUCRETI FRONTONIS
One of the most elegant homes in Pompeii opens

behind a simple façade, characterised by a highly
refined pictorial decoration, rich in functional
artistic and literary references to emphasise the high
cultural level of the owner.
The heart of the home that illustrates the
sophistication of the owner are the atrium* and
the tablinum*. One must note the marble bath of
the impluuium* and a table with lion-paw shaped
feet where the fixings were displayed, both found
in the atrium*. The tablinum is decorated with the
Triumph of Bacchus and Ariadne and the loves
of Venus and Mars. These are complemented by
depictions of seaside villas, a particularly popular
subject, and still life paintings. Hunting scenes of
lions, panthers, bears and cattle are depicted on the
walls of the garden according to the popular trend
for decorations in semi-open areas.
The name of magistrate Marcus Lucretius Fronto
appeared in the electoral inscriptions on the façade
of the house, thereby indicating he lived there.
49
REGIO V
3
House of the Silver Wedding
The house is one of the most solemn and majestic

example of what the home of a member of the
aristocracy of Pompeii had to look like and is
characterised by the impressive architectural
solutions, such as the towering Corinthian columns
made of tuff in the atrium*. It also has a rhodium-
type of peristylium*, that is with the northern
side higher than the other sides; an architectural
approach noted also in other houses in Pompeii,
such as the House of the Anchor (see page 57)
and the House of the Golden Cupids (see page
67). Some graffiti and inscriptions on many items
led to the identification of Lucius Albucius Celsus as
being the last owner of the house.
The current appearance of the building can be dated
back to 40-30 BC when many rooms, especially
those overlooking the atrium, were restored.
The house owes its name to the royal visit of
Umberto I and Margherita of Savoy on their silver
wedding anniversary in 1893.
Date of excavation: 1883; 1891-1893; 1907-1908.
50
REGIO V
4
House of Cecilio
Giocondo
DOMUS L. CAECILI IUCUNDI
The rigorous portal made of tuff and the

construction technique of the internal walls indicate
that the house was originally built in the 2nd century
BC but underwent major restructuring and fine
redecoration of all sections in the last period of life
of the city, when the Caecilii family became the
new owners. The bronze portrait found in front of
the tablinum*, currently exhibited at the National
Archaeological Museum of Naples, is dedicated
to the founder and owner of the house in 79 AD,
Lucius Caecilius Iucundus. Cecilio Giocondo was a
banker, as evidenced by the exceptional discovery in
the house of his archive of 154 waxed boards which
recorded the amounts paid between 52 and 62
AD to persons on whose behalf he had sold goods
(especially slaves) or received rents, while retaining
commission at 1-4%. Two marble reliefs were
discovered in the house, which adorned the home
chapel (lararium*) of the atrium* and represented
the effects that the earthquake of 62 AD had on
some public buildings in Pompeii.
51
REGIO V SUBURBAN
5
Necropolis of Porta Vesuvio
Excavations revealed
four tombs. The most
monumental, that
of magistrate Caius
Vestorius Priscus, dated
to 75-76 AD, is a typical
architectural model
of the Imperial period
characterised by a basis*
surmounted by an altar
with symbolic figures
related to the afterlife.
Here, the rich fresco and
stucco decorations depict the deceased performing
public duties, as well as a domestic scene with a
table, on which the silver crockery is displayed, a
banquet on the Nile, a fight between gladiators and
a hunting scene and still lifes. These subjects can be
related to the life of the deceased and his actions
as well as symbolic representations related to the
funerary sphere.
A semi-circular seat shaped tomb was entitled
toArellia Tertulla; to the north of this there is
a funerary column in tuff for another woman,
Septumia. The last tomb is enclosed with lava cippi
and is dedicated to Marcus Veius Marcellus.
52
Regio VI
1 House of the Faun . . . . . . . . . . . . . . . . 56
2 House of the Anchor . . . . . . . . . . . . . . . 57
3 House of the Small Fountain . . . . . . . . . . 58
4 House of the Tragic Poet . . . . . . . . . . . . 59
5 Thermopolium . . . . . . . . . . . . . . . . . . 60
6 House of Pansa . . . . . . . . . . . . . . . . . . 61
7 House of the Oven . . . . . . . . . . . . . . . . 62
8 House of Sallust . . . . . . . . . . . . . . . . . 63
9 House of Adonis wounded . . . . . . . . . . . 64
10 House of Castor & Pollux . . . . . . . . . . . . 65
11 House of the Vettii . . . . . . . . . . . . . . . . 66
22
Villa dei Misteri
Str
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aP
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vin
cia
le
Vil
la
de
iM
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V IA
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TO
MB
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21 20
V IA
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Villa di Diomede Necropoli di P. Ercolano LLE
TO
MB
E
Villa di Cicerone
Porta Ercolan
12 House of the Golden Cupids . . . . . . . . . . 67
13 House of the Ara Maxima . . . . . . . . . . . . 68
14 Castellum Aquae . . . . . . . . . . . . . . . . . 69
15 House of the Prince of Naples . . . . . . . . . 70
16 House of Meleager . . . . . . . . . . . . . . . . 71
17 House of Apollo . . . . . . . . . . . . . . . . . 72
18 House of the Surgeon . . . . . . . . . . . . . . 73
19 Herculaneum Gate and walls . . . . . . . . . . 74
20 Necropolis of the Herculaneum Gate . . . . . 75
21 Villa of Diomede . . . . . . . . . . . . . . . . . 76
22 Villa of the Mysteries . . . . . . . . . . . . . . . 77
Necropoli di P. Vesuvio
Porta Vesuvio
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C
REGIO VI
1
House of the Faun
It is one of the larger houses

of Pompeii, covering an
entire block of about 3000
sqm and, according to its
original layout, it dates back
to the 2nd century BC
The wealth and social
level of the owner are
immediately evident from
the street: the pavement
bears the Latin welcome
inscription (HAVE); the
majestic door is framed
with pillars with decorated
capitals and the entrance
floor is inlaid with multi-coloured yellow, green, red and
pink marble triangles (opus sectile*). Both sides of the top
part of the walls are adorned with small temples in relief
where the lararium* of the house is recognised.
The house has two atriums* and two peristylia* around
which there are other rooms: some exceptionally
decorated reception rooms, others reserved for family use
and others for service.
At the centre of the impluuium* of the main atrium there is
a copy of the famous statue of the dancing satyr or Faun,
which named the dwelling and alludes to the name of the
lineage of the owner: the Satrii.
A copy of the famous mosaic of the decisive battle
between Alexander the Great and the Persian king Darius,
which changed the course of history, dated to the 2nd
century BC, is found in the living room (exedra*) between
the first and second peristylium.
The originals of the mosaics and the statue of the Faun
are exhibited in the National Archaeological Museum of
Naples.
Date of excavation: 1829-1833; 1900; 1960-1962.
56
REGIO VI
2
House of the Anchor
The house, which opens on

via di Mercurio, is named after
the anchor depicted in the
mosaic at the entrance, which
represents a symbol of peace
and safety that the home
offered to its inhabitants; it has
an original layout compared to
traditional layouts in Pompeii.
The back part is in fact set on
two levels, at different heights:
the upper level is centred
around a large terrace which
had three large overlooking
reception rooms and the lower
level is taken up by a garden, which is much lower,
around which there is a covered portico with pillars.
There is a large aedicula* at the centre of one of the
wings of the portico, depicting two rudders and an
altar that form a chapel intended for the worship of
Venus.
57
REGIO VI
3
House of the Small Fountain
The layout of the house, situated in an important

position along via di Mercurio, is set in such a way
that the beautiful fountain that decorates the garden
at the back can be seen immediately from the
entrance and imagine the high social status of the
owner. The precious fountain, recently restored, is
covered with colourful mosaics and shells and is
adorned by a bronze statue of a fisherman and a
cherub (the copy is exhibited). All around, the side
walls of the peristylium* are frescoed with great
landscape views painted only a few years before
the eruption, including a remarkable seaside town,
a very popular theme at the time and particularly
suitable for decorating gardens.
The cement roofs of the two atriums*, repositioned
to the original height, date back to restoration
carried out in 1971 and allow the old volume of the
house to be perceived once again.
58
REGIO VI
4
House of the Tragic Poet
The house that preserves

the traditional shape
of an atrium* house is
famous for the mosaic
that reads CAVE CANEM
("beware of the dog"),
at the main entrance,
and now protected with
glass. It is accessed from
a side entrance which
leads directly to the peristylium*. The atrium and
tablinum* had fine mosaics, including one with
the scene of actors who are preparing for the play,
which named the house.
Particular care was attributed to the decoration
of the living room: out of the great mythological
paintings with episodes from the Iliad, the one still
visible is that with Ariadne abandoned by Theseus,
on the wall opposite the "Sale of Cupids", a popular
theme in the beginning of the 19th century, after the
house was excavated.
A small aedicula* can be noted in the peristylium.
This is the lararium*, found in almost all the houses
and dedicated to the worship of the Lares and other
protective deities of the family.
The originals of the mosaics and paintings are
preserved at the National Archaeological Museum of
Naples.
A part of the novel, The Last Days of Pompeii,
written by Edward Bulwer-Lytton (1838), takes place
in the house.
59
REGIO VI
5
Thermopolium
Although the excavated part in Pompeii (which

amounts to two-thirds of the old urban area) has
89 thermopolia, small cook-shops where hot food
was sold, it does not mean that the wealthy owners
of large atrium* houses used to dine out. The lower
classes frequented such places. When passing
through Pompeii, one can see many dwellings and
shops within the large houses, which overlook the
street and often consist of a single room.
Craftsmen and merchants lived and worked
here who often lived with their families on the
upper floors. These homes rarely have a kitchen.
Therefore, one would dine out, in one of the many
thermopolia that offered hot food.
Date of excavation: 20s of the 19th century.
60
REGIO VI
6
House of Pansa
INSULA ARRIANA POLLIANA
The house, which takes up the entire block, is a

typical example of a Roman aristocratic home
where the rooms are symmetrically and inter-axially
located around the atrium* and the peristylium*. At
the centre of the severe façade made of tuff opens
the monumental entrance framed with capitals
typical of the mid-second century BC, the time
when the house was constructed. It is remarkable
to note an inscription painted in red and now
protected with glass, which is one of seven in the
Oscan language found in the city, which provided
precise instructions to the troops, directing them
towards certain places of defense if the enemy
were to attack. The most iconic rooms open on to
a large pool, originally decorated with a painting
depicting fish, at the centre of the great peristylium,
enhanced with 16 tuff columns. As evidenced by the
long lease notice, which has now been lost, painted
in the adjacent alley, in the last period of Pompeii,
the owner Gnaeus Alleius Nigidius Maius, a rich
merchant from the Campania region and duoviri*
of the city in 55-56 AD, rented some property of the
large estate.
Date of excavation: 1810; 1813-1815; 1824-1825;
1827; 1898; 1901; 1943.
61
REGIO VI
7
House of the Oven
The layout of this house dates back to the 2nd

century BC, however, following the earthquake,
it was transformed into a bakery during the
renovations carried out in 62 AD, by adapting the
rooms on the ground floor to production rooms,
while the owners probably lived on the upper
floor. The baking business was very profitable,
as evidenced by over 30 bakeries known so far
in Pompeii. Besides the set up of a large oven
for baking bread at the back of the house, the
renovation of the building transformed the
peristylium* into a paved room intended to house
four huge lava millstones to grind grain and water
basins to wash it. The milling machines were
operated by slaves or donkeys, who pushed the
wooden beams inserted sideways into the upper
piece. An entire skeleton of a donkey was found in
the stable, next to the peristylium.
62
REGIO VI
8
House of Sallust
The house is one of the most significant examples

of a dwelling in the Samnite* era (dated around 180
BC), which retains much of the original layout, the
severe façade made of limestone blocks, the atrium*
equipped with an impluuium* made of tuff and the
small rear portico with tuffaceous columns. Even
the wall decoration of many rooms is original and is
one of the most remarkably preserved in Pompeii.
Painted imitations of marble slab coatings let one
perceive the severe monumentality that the painting
conveyed to the visitor of the home. The house was
probably turned into a hotel after the earthquake of
62 AD, adding a second floor above the street front
and partially renovating the decoration, such as the
addition of the bronze unit of Heracles and the deer
on the edge of the impluuium, now at the National
Archaeological Museum of Palermo, and the life-
size representation of Actaeon attacked by the dogs
of the goddess Diana on the back wall of the small
garden, partially destroyed by the Anglo-American
bombing of 1943.
The house is possibly attributable to Aulus Cossius
Libanus as indicated by a seal ring.
2006.
63
REGIO VI
9
House of Adonis wounded
In its original layout that dates back to the mid-

second century BC, the house was joined to the
adjacent dwelling, forming one large property. In the
last phase of life in Pompeii, the house was restored
and most of the walls were repainted. Among the
frescoes of this era there is the large painting with
Adonis dying and Aphrodite painted in the garden,
which named the house. In Greek mythology,
Adonis, a nice-looking young man, loved by
Aphrodite, died because Mars (or Apollo, according
to some), driven by jealousy, made a wild boar
attack him during a chase in the woods. Anemones
grew from the blood of Adonis. In the large opening
on to the garden there is another painting based
on love and desire: on the east wall, to the left, one
can see the remains of a fresco showing the "Toilet
of Hermaphrodite". The unfulfilled and unfulfillable
love that we find in these paintings, was a recurring
theme in ancient literature and art.
64
REGIO VI
10
House of Castor & Pollux

DOMUS CN. CAETRONI EUTYCHI
The house, one of

the most lavish and
extensive of the last
period of Pompeii,
is characterised by a
complex architecture of
space and a particular
richness of paintings.
The house has two
atriums* connected
by an elegant rhodium
type of peristylium*,
that is with the northern
section scenically
higher than the others,
overlooking a deep bath
used for water games,
which has an elegant
living room facing it
(exedra*), the walls of which were originally coated
in marble, which is not common in Pompeii.
The main atrium has 12 columns in tuff and on it
open sumptuous rooms, used for receptions and
gatherings, with a small garden at the rear; the
secondary atrium is almost entirely taken up by the
service areas and those dedicated to rest. The wall
painting is the work of the same shop that worked
in the neighbouring House of the Vettii (see page
66) and the most significant paintings can now
be viewed at the National Archaeological Museum in
Naples, including the small paintings at the entrance
with Castor and Pollux, who gave the house its
name and the copies of which have been recently
relocated in situ.
Date of excavation: 1826; 1828-1829; 1837.
65
REGIO VI
11
House of the Vettii

DOMUS VETTIORUM
The house, one of the richest and most famous

in Pompeii, is under the protection of Priapus, the
god of prosperity, painted to the right of the door,
symbolising the economic prosperity of the owners,
the brothers, Aulus Vettius Restitutus and Aulus Vettius
Conviva liberti*, who became rich through trade.
The appearance of the house was changed during
the restructuring phase in the Augustan era (1st
century BC) with respect to the traditional layout
that characterises other homes, such as those of the
Faun (see page 56) and Sallust (see page 63),
eliminating also the tablinum to gain more space for
the large garden, full of statues with jets of water,
which is the focal point of the dwelling. The more
richly decorated rooms overlook the peristylium*,
including the living room with the frieze of Cupids
which carry out the main productive activities of that
time, from selling wine to cleaning clothes, cultivating
flowers to harvesting, jewellery making to creating
perfumes. The lararium* painting is found in the
kitchen area; a graffiti at the entrance of the house
indicates that the prostitute, Eutychus, who was a slave
offering herself for two Asses, carried out her affairs in
the adjacent room, decorated with a number of erotic
paintings.
66
REGIO VI
12
House of the Golden

Cupids
The house, one of

the most elegant of
the Imperial era, is set
around the spectacular
peristylium* with a rare
rhodium type of garden,
with higher columns on
one side surmounted
by a fronton, which
conveyed a sacred
aura to the overlooking
rooms. Among these,
particular attention
should be given to the
large hall, characterised
by high quality mythological paintings and having a
mosaic floor with a central rosette according to the
fashion of the Augustan era. The religiousness of the
peristylium is also emphasised by the presence of
two places of worship: the aedicula* of the lararium*
for traditional domestic worship and a particular
chapel, dedicated to the worship of Egyptian gods
as evidenced by the paintings of Anubis, god of the
dead, with a jackal's head; Harpocrates, child god
son of Isis, Isis and Serapis, healing god; alongside
objects of the cult of Isis, whose owner was perhaps
a priest. In a kind of museum collection, the garden
was decorated with reliefs and marble sculptures,
some of which are originally Greek. The name of
the house is attributed to the Cupids engraved on
two gold medallions that decorate a cubicle* of the
portico. Graffiti and a seal ring indicate the owner as
Gnaeus Poppaeus Habitus, a relative of the Poppea
Sabina, Nero's second wife.
67
REGIO VI
13
House of the Ara Maxima
The atrium* is the focal point of the house with its

layout not being so canonical and with no garden
due to the conditioning of the building space. In line
with the entrance there is a small room instead of
the usual tablinum*, frescoed with a central painting
depicting the myth of Narcissus; a niche opens on
the same side, which forms the domestic lararium*
depicting the family Genius whose intent was to
sacrifice and two auspicious snakes on either side of
the votive altar. A rare table was found in the house,
having a bronze Egyptian sphinx as a support, now
exhibited at the National Archaeological Museum
in Naples, together with a large number of bronze
tools, including 120 fishing hooks. The name of
the house derives from the frescoed painting of
Hercules standing near an altar, the latter generally
identified with the Ara Maxima founded by the hero
in Rome, where perhaps Hercules and Admetus are
to be noted in front of the tomb of Alcestis.
68
REGIO VI
14
Castellum Aquae
This water distributor is placed at the highest point

of Pompeii (42 m) and, through its connection with
the Augustan aqueduct of Serino, near Avellino, the
water supply was guaranteed to the entire city. The
structure operation allows you to appreciate the
high level of development achieved by the ancient
hydraulic engineering: the castellum had a large
circular basin within, served by a pipeline found on
the north side, and fitted with a gate system and
breakwaters, which adjusted the water distribution
accordingly. The water used the drop pressure to be
conveyed from here towards three pipes at different
heights. If necessary, these could be closed with
wooden wedges.
The structure was damaged by the earthquake in
62 AD and does not seem to have been in use at
the time of the eruption in 79 AD, unlike the the 40
fountains distributed around the city.
69
REGIO VI
15
House of the Prince

of Naples
The house has an irregular layout consisting of

two originally independent units being united. The
atrium* area almost entirely preserves the original
decoration dating back to the last period of the
city; the upper part, consisting of painted blocks
of rows, is well preserved. A marble table resting
on legs in the shape of winged lions is found at the
edge of the impluuium*. The rear part consists of
richly decorated rooms formed around the portico
and the central garden, dedicated to gatherings or
receiving guests. The life-size images of Bacchus
and Venus are painted on the walls of the exedra*,
and the central area of the floor of the triclinium* is
embellished with inlaid coloured marble.
There is an aedicula* on the back wall of the garden,
where there is the lararium* for family worship.
70
REGIO VI
16
House of Meleager
The house is named after the painting of Meleager

and Atlanta found at the entrance that opens along
the important via di Mercurio, which leads directly
to the city's main square. It belonged to an upper-
class owner, as evidenced by the rich decor of
the atrium* with the precious marble bath with
water flowing from a fountain and the marble table
supported by griffin*-shaped legs. The focal point
of the house is the grand peristylium* behind which,
the main reception rooms of the house, arranged
in a sophisticated architectural sequence, open
on the porticoes. The living and reception room is
remarkable, enhanced with rich internal columns
(Corinthian-type oecus*), the only documented
example in the city together with the older one
found in the House of the Labyrinth. The large bath
in the central garden, painted in blue, with a fountain
with steps for water games, offered a beautiful
setting in these luxurious rooms, which could be
shaded by curtains attached to the columns.
Date of excavation: 1829-1830; 1837; 1962
71
REGIO VI
17
House of Apollo
DOMUS HERENNULEI
COMMUNIS
The current layout dates back to the last period of

life of the city, when the dwelling took up the area
closest to the walls for the large garden to be set on
two levels. This is without doubt the most important
part of the house: a summer triclinium* overlooks
the lower garden adorned with a spectacular
marble fountain with a ladder for a small waterfall,
with a room at its side whose outer walls are
embellished with a limestone coating to look like
a cave and three mythological mosaics made of
shells and coloured glass paste. Only the painting
of Ulysses is preserved on site, in which Achilles is
recognised although disguised and hidden between
the daughters of the king of Skyros, whereas the
other two, depicting the Three Graces and Achilles
against Agamemnon, are kept at the National
Archaeological Museum of Naples. Scenes related to
the myth of Apollo named the house, which perhaps
belonged to Aulus Here(n)uleius Communis as is
evidenced by a seal ring found in 1830.
72
REGIO VI
18
House of the Surgeon
The house is considered among the oldest of

Pompeii (mid-third century BC), as shown by the
construction technique of the façade with large
square blocks of limestone and that of the internal
partition walls built with chains of the same blocks
arranged alternately horizontally and vertically and
mirrors filled with smaller stones. The house retains
its original layout with the main rooms arranged
around the atrium* with with impluuium* in tuff and
a small viridarium* at the back, which opens onto
a room with windows. The latter retains much of
the surviving decoration, with original paintings on
the outside and those redone inside after 50 AD,
including the small painting with the rare depiction
of the studio of a female artist, which can now be
viewed at the National Archaeological Museum of
Naples. The house, which owes its name to the
discovery of more than 40 surgical instruments,
such as probes and scalpels, was also among the
first to be excavated, and the name of a certain
Tullio painted on the plaster in 1799 in memory of
his passing, attests that visitors could already visit it
at that time.
Date of excavation: 1770-1771; 1777; 1926.
73
REGIO VI
19
Herculaneum Gate
and walls
The gate, built after the city was conquered by the

Roman general Sulla in 89 BC, has no defensive
structures because it was built at a time when the
walls lost their function. It has three fornix*, of
which those at the sides are smaller and the central
vault has partially collapsed. It owes its name to the
fact that the road which connected Pompeii with
Herculaneum emerged from here. From inside, the
adjacent walls belong to an earlier time than the
Samnite* era (2nd century BC), the great staircase
with steps made of tuff had to provide easy access
to the walkway. A section of the walls can be seen, 7
m high outside the door, on the left, built with large
blocks of tuff and arranged in a regular layout. The
marks left on the vestment by stone bullets thrown
during the siege of Sulla, which concentrated
particularly in this area of Pompeii, can still be noted.
Date of excavation: from the 18th century.
74
REGIO VI SUBURBAN
20
Necropolis of the
Herculaneum Gate
The necropolis of the

Herculaneum Gate,
which stretches along
the road that led to
Naples, was already used
during the first centuries
of life in Pompeii,
although the funeral
buildings visible today
date back to the 1st
century BC and thereon.
The monumental
tombs illustrate the
most common types of
funeral at that time. One
can see two tombs upon
leaving the Herculaneum
Gate, on the left, which consist of a semi-circular
seat in tuff, called schola (from the Greek word
schole, which is the root word for 'school'), typical
of Pompeii and dedicated by the city assembly to
distinguished and deserving citizens. One of them
preserves the inscription of the owner of the tomb
in large letters, the public priestess Mamia, who
died around 29 AD and who had had the Temple of
the Genius of Augustus in the Forum built. Other
tombs are built on a high basis* in the shape of an
altar, such as that of Naevoleia Tyche and Munatius
Faustus with the depiction of the double seat, a
symbol of honour granted to sit in the front row at
the theatre and a ship that enters the port. Later,
suburban* of the city begins among the tombs,
populated by several villas.
75
REGIO VI SUBURBAN
21
Villa of Diomede
It develops scenically on three levels, opening with

gardens and pools towards the ancient coastline. It
is one of the largest buildings of the entire city with
an area of 3500 square metres. Upon entering, one
accesses the peristylium* directly, around which
there are the most important rooms of the house,
such as the triclinium*. The beautiful garden is one
of the most evocative areas. at the centre of which
there was a triclinium covered with a pergola for
summer banquets, and a pool. Two victims were
found near the door that led to the service area, one
of whom had a gold ring and a silver key as well as a
hoard of 1356 sesterces.
The villa was one of the first buildings to be
excavated in Pompeii and was a key destination
for all travellers in the 19th century, as evidenced
by the numerous graffiti that bear the names of
famous travellers, such as the Count of Cavour. It
is also used as the setting in the novel Marcella by
Théophile Gautier.
It owes its name to Marcus Arrius Diomedes, whose
tomb is located in front of the entrance.
76
REGIO VI SUBURBAN
22
Villa of the Mysteries
It is named after the hall of mysteries located in the

residential part of the building, which faces the sea.
A large continuous fresco that covers three walls,
one of the most preserved ancient paintings, depicts
a mysterious rite, that is reserved for the devotees
of the cult. The scene is linked with Dionysus, who
appears on the central wall with his wife, Ariadne.
Female figures as well as fauns, maenads and
winged figures are seen on the side walls, engaged
in various ritual activities. Besides Dionysian ecstasy
expressed in dancing and drinking wine, one sees
the ritual flagellation of a young girl resting on the
lap of a seated woman (bottom right). The other
rooms also preserve wonderful examples of second
style wall decoration, that is with depictions of
architecture.
Egyptian inspired miniature paintings are seen in the
tablinum*.
The villa also includes an area intended for the
production of wine with a rebuilt wooden press.
The complex dates back to the 2nd century BC but
was given its current shape in 80-70 BC, which is
the same period of the frieze of the mysteries.
77
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Porta Marina
Torre XIII
Regio VII
1 Suburban Baths . . . . . . . . . . . . . . . . . . 80
2 Marina Gate and walls . . . . . . . . . . . . . . 81
3 House of the Sailor . . . . . . . . . . . . . . . . 82
4 Sanctuary of Apollo . . . . . . . . . . . . . . . 83
5 Forum . . . . . . . . . . . . . . . . . . . . . . . 84
6 Mensa Ponderaria . . . . . . . . . . . . . . . . 85
7 Forum Granary . . . . . . . . . . . . . . . . . . 86
8 Temple of Jupiter . . . . . . . . . . . . . . . . . 87
9 Honorary Arches . . . . . . . . . . . . . . . . . 88
10 Forum Baths . . . . . . . . . . . . . . . . . . . 89
11 Temple of Fortuna Augusta . . . . . . . . . . . 90
12 Macellum . . . . . . . . . . . . . . . . . . . . . 91
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13 Sanctuary of the Public Lares . . . . . . . . . . 92

14 Temple of the Genius Augusti (Temple of
Vespasian) . . . . . . . . . . . . . . . . . . . . . 93
15 Portico of Concordia Augusta (Building of
Eumachia) . . . . . . . . . . . . . . . . . . . . 94
16 Stabian Baths . . . . . . . . . . . . . . . . . . . 95
17 House of Sirico . . . . . . . . . . . . . . . . . . 96
18 Lupanar . . . . . . . . . . . . . . . . . . . . . . 97
19 Bakery of Popidio Prisco . . . . . . . . . . . . 98
20 House of the Ancient Hunt . . . . . . . . . . . 99
21 House of Marcus Fabius Rufus and the Golden
Bracelet . . . . . . . . . . . . . . . . . . . . . .100
REGIO VII SUBURBAN
1
Suburban Baths
The Suburban Baths, located immediately beneath

the Marina Gate, are built halfway along the walls,
which during the 1st century BC had lost their
defensive function; unlike the Stabian Baths (see
page 95) and those of the Forum (see page
84), the Suburban Baths were private.
There are small erotic paintings in the changing
room (apodyterium) that advertise the activities held
in the halls of the upper floor, probably intended
for prostitution, as often happened, illegally, in the
baths.
The other thermal areas have sumptuous
decorations. A waterfall flowed in the small cold
pool from a fake cave, adorned with a mosaic
depicting Cupids handing over their weapons to
Mars, the walls were frescoed with paintings that
reproduced naval battles marine wildlife.
Besides the normal sequence of rooms that range
from the more moderate to the hottest, the section
of the heated rooms also includes a large pool that
is heated by means of a large bronze brazier, placed
at the bottom.
80
REGIO VII
2
Marina Gate and walls
Similar to a bastion perched on the edge of the

plane, the gate provides access to the west of the
city and it is the most impressive among the seven
gates of Pompeii. The name derives from the fact
that the exit road led to the sea. The layout with a
barrel vault made of concrete, that is a mixture of
mortar and stones, dates back to the Silla colony (80
BC). The gate has two fornix, the main one being
higher, intended for the passage of horses and pack
animals; the smaller one, more forward, intended
for pedestrian passage. The city walls that can be
seen today, already in place in the 6th century BC, is
over 3200 m long: it consists of a double wall with
a walkway, protected inside by an embankment.
Twelve towers, more on the north side where
the flat terrain made Pompeii more vulnerable,
guaranteed defence. The definitive entrance of
the city within the Roman orbit decreased the
importance of the walls, sometimes re-used and
destroyed to make place in homes.
81
REGIO VII
3
House of the Sailor
The house, whose layout

dates back to the 2nd
century BC, required
a great construction
commitment since the
significant difference
in height between
the various areas
throughout had to be
compensated for by
constructing vaulted
semi-hypogean* rooms
used as a warehouse.
The presence of a vast commercial and productive
area within an elegant townhouse is an exception in
Pompeii. The main rooms of the house open on to
an impressive atrium*, which was redecorated at the
end of the 1st century BC with several interesting
black and white mosaics. A small thermal complex
was also added at the time. The house, unearthed
since 1871, owes its name to the mosaic with six
prows of ships within arsenals at the entrance,
an allusion to the peaceful haven offered to its
occupants and perhaps even to the amateur activity
of the owner.
82
REGIO VII
4
Sanctuary of Apollo
The Sanctuary of Apollo is

one of the oldest places
of worship in Pompeii,
built in a strategic point,
along the path that goes
up to Marina Gate that
led to the public heart
of the city. The choice
of god as the founding
cult of the settlement
refers to the Greek and
Etruscan presence in the
Campania region. Deep
excavations have allowed the earlier phases to be
exposed, documented from vases, votive items and
terracotta decorations that document the presence of
an archaic temple (6th century BC). Between the 3rd
and 2nd century BC the old building was completely
renovated until it achieved the shape that, with a
minor Neronian renovation, reached the dramatic
days of the eruption: a temple on a basis*, surrounded
by a portico-style area, which defines a courtyard that
has an altar at its centre. A sequence of open doors
on the eastern wall, a monumental colonnade that
might have had a terrace, connected the sanctuary
to the square of the forum: gladiatorial games and
theatrical performances of ludi Apollinares, the
festivities in honour of the god focused on the
initiations of boys and girls who recognised tutelary
deities in Apollo and his twin sister, Diana. Both
were depicted in bronze, precious sculptures from
the Hellenistic period, preserved in the National
Archaeological Museum of Naples and the copy of
which is exhibited here.
1943; 1997; 2015.
83
REGIO VII
5
Forum
The Civil Forum is the core of daily life of the city

and is the focal point of all the main public buildings
for city administration and justice, for business
management, for trade activities, such as markets, as
well as the main places of citizen worship.
The square of the Forum originally looked like a
simple open area with an overall regular shape,
made of clay and its western side opened on to
the Sanctuary of Apollo (see page 83), whereas
the eastern side had a row of shops. The Forum
was significantly modified between the 3rd and
2nd century BC when the shape of the square
was regularised, surrounded by porticoes and the
bottom paved with slabs of tuff. The axis of the
square became the façade of the Temple of Jupiter
(see page 87), aligned with Mount Vesuvius.
At the beginning of the Imperial age the Forum was
re-paved with travertine slabs, some of which are no
longer in their original location and have a groove to
accommodate the bronze letters that belonged to
a large inscription. Excavations that began upon the
requests of Maria Carolina Bonaparte immediately
indicated that the area had been explored and
stripped of its decorations in ancient times.
84
REGIO VII
6
Mensa Ponderaria
In a niche in the western perimeter wall of the

Sanctuary of Apollo there is a copy of the Mensa
Ponderaria, the original of which is kept at the
National Archaeological Museum of Naples.
It is a counter used to check the capacity measures
used for goods in trade. Both liquid and solid food,
such as cereals, could be measured. These were
placed in the appropriate containers and sealed
with caps and lastly, emptied after verification.
This counter was already present in pre-Roman
times, as indicated by three inscriptions in the
Oscan language then deleted when colony was
founded (80 BC), and its upgrade to the system of
Roman weights and measures, as evidenced by the
inscription that is still visible.
85
REGIO VII
7
Forum Granary
They stretch on the western side of the Forum with

eight openings separated by brick pillars and were
used as for the fruit and vegetable market (Forum
Holitorium). Today they form the most important
archaeological inventory of the city and have more
than 9000 artefacts from the excavations in Pompeii
and its territory since the end of the 19th century.
They preserve the terracotta crockery that was used
in the last decades of life of the city for the every day
activities, such as pots and pans for cooking, jugs
and bottles, and amphorae, large containers used
to transport oil, wine and fish sauce throughout the
Mediterranean. The exhibited items also include
marble tables and baths for fountains that adorned
the entrances of houses and some casts of victims
of the eruption as well as that of a dog and a tree.
The building was built after the earthquake of 62 AD
and it might have not been completed at the time of
the eruption.
86
REGIO VII
8
Temple of Jupiter
The Temple of Jupiter dominates the north side

of the Forum, and behind scenically rises Mount
Vesuvius.
When the colony was founded (80 BC), the temple
underwent a radical renovation and became a real
Capitolium with the three cult statues of Jupiter,
Juno and Minerva, which looked like those of the
Capitolium in Rome, placed on a high base so as to
make them visible to whoever passed in the Forum
square. The new works extended the cell of the
temple, in which a rich mosaic floor with marble
elements was laid.
The favissae open in the basis*, underground
areas originally used for the offerings to the gods.
According to some studies, in time they probably
protected the public treasury of the city. There
were two equestrian statues on the sides of the
basis of the Capitolium, as evidenced by the relief
found in the lararium* of the house of Lucio Cecilio
Giocondo (see page 51).
87
REGIO VII
9
Honorary Arches
On the sides of the temple of Jupiter (see page

87), in the northern part of the Forum, there
were two old honorary arches made of bricks and
covered with marble.
On the east side only traces of the foundations
remain, which was probably dedicated to the
Emperor Caligula (37-41 AD) and was demolished
after his death. The arch on the west was instead
dedicated to Drusus, son of Emperor Tiberius;
a relief of the lararium* of the house of Cecilio
Giocondo shows it collapsing during the earthquake
of 62 AD, after which it was rebuilt and redecorated.
The exit of the east portico of the Forum on the
north side is dominated by another honorary double
arch fornix*, originally covered with marble; the
top houses a large tank intended to supply the
fountain on the external façade and was decorated
with statues of the emperors of the Julio-Claudian
dynasty. It was probably dedicated to Germanicus
and replaced that dedicated to Caligula.
An arch was built in the era of Tiberius (14-37 AD)
near the temple of Fortuna Augusta (see page 90)
halfway along via di Mercurio.
The arch closed the sequence of buildings intended
for the imperial cult.
88
REGIO VII
10
Forum Baths
The Forum Baths are located behind the Temple

of Jupiter (see page 87) and date back to the
years immediately after the founding of the colony
of veterans by General Silla (80 BC). Women's and
men's quarters had separate entrances. The man's
section presents an apodyterium (dressing room),
used also as a tepidarium (for medium temperature
baths), frigidarium (for cold baths) and calidarium
(for hot baths). Like many buildings in Pompeii, the
baths were heavily damaged during the earthquake
of 62 AD. The current state mainly derives from the
results of the subsequent restoration works.
Significant attention and effort was devoted to
the decoration of the rooms, such as the niches
for storing clothes and objects for the bathroom
decorated with male figures in terracotta
(telamones*) and the vault with elaborate stucco
in relief of the apodyterium-tepidarium. In the
same room one notices a great bronze brazier
that was used for heating. The women's quarters,
which is smaller, was being renovated at the time
of the eruption. More than 500 lamps found in
the entrance of the men's quarters were used for
lighting during the evening openings.
89
REGIO VII
11
Temple of Fortuna Augusta
Like many other places of worship throughout the

Roman Empire, this small temple on the basis*
with marble capitals and columns and with the
altar at the front was not only dedicated to the
celebration of specific rituals in honour of Emperor
Augustus (31 BC-14 AD) but also to the propaganda
in favour of the imperial house by the local elite. In
this case, an inscription gives us the name of the
manufacturer of the building: Marcus Tullius, son of
Marcus, duoviri* of Pompeii. The construction of the
temple at his own expense and on land owned by
him, made Marcus Tullius a strong supporter of the
emperor. The cult of Fortuna Augusta was looked
after by a group of slaves and liberti*, that is groups
particularly related to the emperor as the guarantor
of their rights and ambitions. The marble coatings
that adorned the building were removed just a
few years after the eruption. There was a statue of
Fortuna in the cell of the temple and statues of the
imperial family in the niches on the side.
90
REGIO VII
12
Macellum
The Macellum consists of a tuff quadriporticus with

a hall for worship in an elevated position on the
eastern side, in line with the entrance. The copies of
two marble statues, a female and a male armed, are
found on the niches of the side wall, together with
the fragment of a larger statue, probably pertaining
to an emperor, Titus or Vespasian, indicating how
this area was intended for the imperial cult. To its left
is a room for meetings of a sacred board and to the
right a large room with a masonry counter perhaps
for fish to be sold.
There was a circular structure (tholos) at the centre
of the courtyard, which was also used for selling
and cleaning fish; the shops are lined up along
the southern side. The walls of the porticoes were
decorated with scenes from daily life, such as selling
fish and poultry, and mythological subjects.
The building was built between 130-120 BC
91
REGIO VII
13
Sanctuary of the Public

Lares
This sanctuary, together with the other temples for

the imperial cult, such as the Temple of the Genius
Augusti (below) and the Portico of Concordia
Augusta (see page 94), was built in an area
formerly taken up by shops.
The large building, completely open on the Forum
(see page 84), was fitted with a central altar,
where sacrifices could be offered for the emperor
as well as for citizens of Lari. There are two large
exedras* on either side of the central apse and
several niches intended to house the statues of the
imperial family. Only a few fragments of the rich
marble covering are preserved, which was destroyed
shortly after the eruption 79 AD.
The Sanctuary was built prior to the earthquake
of 62 AD but following the rule of Augustus (first
decades of the 1st century AD).
92
REGIO VII
14
Temple of Genius Augusti

(Temple of Vespasian)
The Temple of the Genius Augusti was built upon

the requests of Mamia, mentioned in an inscription
as priestess of Cerere and the Genius of Augustus.
The construction of this temple in the Augustan
period (first decade of the 1st century AD) adopted
the same architectural design as the adjacent
Portico of Concordia Augusta (see page 94), as
indicated by the marble decoration of the façade,
the bottom part of which can now only be seen,
by motives in a niche and the renewed altar and
partly completed after the earthquake of 62 AD.
The temple included a small courtyard, an altar and
a small temple with four columns on a high basis*,
accessible from both sides.
The beautiful marble decoration with floral motives
filled with rich fauna, today seen at the entrance of
the Portico of the Concordia of Eumachia, was likely
to belong to the entrance of the temple. The frieze
was made based on the model of the Ara Pacis in
Rome.
93
REGIO VII
15
Portico of Concordia
Augusta (Building of
Eumachia)
This building, the

most impressive on
the eastern side of the
Forum, was built by
Eumachia, priestess of
Venus belonging to a
very rich family from
Pompeii, to worship the
emperor.
The statues of the the
richest and most important people in Pompeii were
exhibited below the portico in front of the entrance
and two elogia of Romulus and Aeneas, that is two
inscriptions with the list of good deeds performed
by them, were placed at the sides of the large
entrance, below the niches that can still be seen
today. The rich marble frame of the entrance with
scrolls of acanthus filled with animals was found
in the Forum and was mistakenly relocated here
when it actually belonged to the adjacent Temple of
Genius Augusti (see page 93).
The interior consisted of a portico with three
wings, in the short eastern side there are three
exedras*; the central one is larger and contained a
statue of Concordia Augusta, now at the National
Archaeological Museum of Naples. There was a
covered corridor behind this portico, also with three
wings, at the centre of which there was the statue
of Eumachia, the copy of which is now on display
as the original is at the National Archaeological
Museum of Naples.
Nothing remained from the rich multi-coloured
marble decoration; just like other buildings of the
Forum, this was ruined soon after the eruption.
94
REGIO VII
16
Stabian Baths
The main entrance on via dell'Abbondanza leads

to a large courtyard. The pool is found to the
left, whereas a colonnade is found to the right,
which leads to the men's quarters, which are split
into the apodyterium (dressing room), with the
frigidarium (for cold baths), which leads to the
tepidarium (for medium temperature baths) and
then to the calidarium (for hot baths). The heating
was guaranteed by a piping system in the walls and
double floors that circulated the hot air coming
from the furnaces and from mobile braziers.
The women's quarters, close to the men's quarters,
was split the same way in the apodyterium,
tepidarium and calidarium, however, all were smaller
and had no rich decorations that distinguish the
men's quarters. Women entered through a separate
door, on which “Mulier” (woman) was written, in
the NW corner of the courtyard, which opens on to
via del Lupanare. The separation of the sexes was
normal practice in the ancient world.
The Stabian baths, which date back to the 2nd
century BC, are among the oldest we know of in the
Roman world.
95
REGIO VII
17
House of Sirico
DOMUS SIRICI
The big house is the

result of two houses
being joined in the 1st
century BC, one with
its entrance on via
Stabiana and the other
from the Lupanare alley.
The decorations of the
entire property were
being radically renovated at the time of the eruption,
according to the principles of the time.
The exedra* was one of the parts already
completed, where the guests feasted on couches
around a fine floor made of marble slabs and
surrounded by beautiful frescoes with mythological
subjects inspired by the Trojan War, one of which is
exhibited at the National Archaeological Museum of
Naples. The last owner of the house, Publius Vedius
Siricus, was identified thanks to the discovery of a
bronze seal bearing his name. Sirico belonged to the
political and trade class of Pompeii and met with his
supporters on a daily basis in his home welcoming
them with the auspicious inscription SALVE LUCRU,
Welcome, money! that could be read on the floor of
the entrance.
Date of excavation: 1851-1852; 1857-1859; 1862;
1872-1873.
96
REGIO VII
18
Lupanar
The prostitutes in the brothel were mostly Greek

and Oriental slaves who were paid between two and
eight Asses (a glass of wine cost one Ass)
for their services.
The building has two floors. The homes of the
owner and the slaves are at the top and there are
five rooms at the bottom, all fitted with a built-in
bed, on either side of the corridor that connects the
two entrances of the ground floor. The rooms were
closed by a curtain. A latrine is seen at the end of the
corridor, under the staircase.
Small paintings with erotic depictions on the walls
of the central corridor informed customers of the
activities that took place.
The brothel is named from lupa, a Latin word
meaning 'prostitute'.
97
REGIO VII
19
Bakery of Popidio Prisco
Here, like elsewhere, the mill and bakery are

connected because the place of flour production
and processing are part of the same production
process.
The wheat is ground with large lava millstones, five
fine examples of which are seen in the bakery. These
are formed by two elements: a lower cone-shaped
part (meta) and an upper hourglass-shaped part
(catillus). The grain is poured into the catillus that
turns by being pulled by slaves or animals and grinds
it and then drops it below.
Bread was baked in different shapes in the large
oven at the centre of the building and was regularly
sold in the same place in a small room with a
counter. The counter is missing in this bakery; the
bread was probably produced or on commission or
sold wholesale or by street vendors, called libani.
Date of excavation: 20s of the 19th century.
98
REGIO VII
20
House of the Ancient Hunt
The house, dating back to the 2nd century BC, the

front of which fully represents the typical layout
of a Roman house with an entrance, atrium* and
tablinum all on a single axis. Because of the limited
space, the peristylium* at the back is highly irregular.
It has only two columns instead of four, which
mostly form an acute angle.
Among the frescoes, made some years before
the eruption as part of the restoration works, two
mythological paintings stand out, belonging to
the decoration of the central area, overlooking the
garden. One can see the god Apollo and a Nymph,
as well as Diana and Actaeon, a hunter who was
turned into a stag by the goddess because he had
seen her naked while she was bathing. The hunting
scene that gave its name to the house, found in the
peristylium, has become discoloured because of
meteorological phenomena.
99
REGIO VII INSULA OCCIDENTALIS
21
House of Marcus Fabius

Rufus and the Golden
Bracelet
The grand complex of houses of Marcus Fabius

Rufus and the Golden Bracelet covers at least four
levels of living space with panoramic terraces that
slope scenically towards the sea. The terraces are
built on top of the walls of the city but in pre-Roman
times the houses were situated on the sides of one
of the city gates, Porta Occidentalis, which was the
intersection of via di Nola and via delle Terme.
The buildings have a luxurious decoration on the
floor with coloured marble mosaics (opus sectile*),
as well on the wall with mythological frescoes, views
of gardens and reproductions of original Greek
works of the 4th century. The houses were still
inhabited at the time of the eruption as evidenced
by the numerous victims found and of whom casts
were made.
The House of the Golden Bracelet owes its name to
a large gold bracelet worn by one of the victims.
Date of excavation: 1759; 1910; 1940; 1958-1980.
100
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Porta Marina 4
LE
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Villa Imperiale
Piazza
Esedra
SS18
Regio VIII
1 Sanctuary of Venus . . . . . . . . . . . . . . . .104
2 Basilica. . . . . . . . . . . . . . . . . . . . . . . 105
3 Comitium and municipal buildings . . . . . . .106
4 House of Championnet . . . . . . . . . . . . . 107
5 House of the Geometric Mosaics . . . . . . . .108
6 House of the red walls . . . . . . . . . . . . . .109
7 Triangular Forum . . . . . . . . . . . . . . . . . 110
8 Doric Temple - Sanctuary of Athena and Hercules . 111
AL
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9 Samnite Palaestra. . . . . . . . . . . . . . . . . 112

10 Large Theatre . . . . . . . . . . . . . . . . . . . 113
11 Quadriporticus of the theatres
or Gladiators Barracks . . . . . . . . . . . . . . 114
12 Small Theatre - Odeon . . . . . . . . . . . . . 115
13 Temple of Aesculapius or Jupiter Meilichios . 116
14 Temple of Isis . . . . . . . . . . . . . . . . . . . 117
15 House of the Cornelii . . . . . . . . . . . . . . 118
REGIO VIII
1
Sanctuary of Venus
The Sanctuary of Venus takes up a spectacular

artificial terrace that offers great views of the Gulf of
Naples and from a distance overlooks the bay where
the harbour was to be situated.
Venus was the patron goddess of Pompeii who
named the colony upon conclusion (80 BC), already
worshiped in pre-Roman times and later was also
patron goddess of sailing.
The earthquake of 62 AD and those that followed
up to the eruption, caused the destruction of the
temple whose reconstruction had not yet been
completed in 79 AD
The first sanctuary dates back to the 2nd century BC
and consisted of a space surrounded by porticoes
at the centre of which stood the temple. That which
can be seen today dates back to the early imperial
age.
A large gold lamp weighing 896 grams was found
during the 19th century excavations, in a small
provisional chapel leaning against the bottom
of the cell of the temple, which was a gift of
Emperor Nero, and is now found at the National
Archaeological Museum of Naples.
Date of excavation: 1852; 1869; 1872; 1898; 1937,
1952-1953; 1984-1985; 2004-2005.
104
REGIO VIII
2
Basilica
The Basilica, with its extension of 1,500 square

metres, was the most sumptuous building of the
Forum (see page 84), and its space was used to
carry out for business and for the administration of
justice.
It is accessed from the Forum through five entrances
separated by tuff pillars; inside it is divided into three
naves with two rows of brick columns with Ionic
capitals. A richly decorated suggestum*, where
judges sat while judicial affairs were managed, is
located at the centre of the short western side. The
space was enhanced with an equestrian statue,
whereas the walls are richly decorated with stucco
like large blocks of marble.
The Basilica is dated back to 130-120 BC and is one
of the oldest examples of this type of building in the
entire Roman world. It was excavated since the 19th
century, when investigations in the Forum square
area began.
Date of excavation: 1806; 1813; 1820; 1928; 1942;
1950.
105
REGIO VIII
3
Comitium and municipal

buildings
The Comitium is located in the southeast corner

of the square of the Forum. Built during the
2nd century BC, it originally constituted the
headquarters of the polling station and then
became the place intended for the counting of
votes and the announcement of newly elected
judges (Diribitorium), whereas the square of the
Forum became an area for casting the votes. The
importance of this building for local political life
is also indicated by the many electoral campaign
posters that covered the pillars of the entrance on
Via dell’Abbondanza and the suggestum* on the
south side.
There are 3 public administration buildings in the
south side of the square, one after another, from
west to east: the Tabularium, a store with a gap
that isolates it from the neighbouring buildings to
avoid the risk of fire; the Curia, that is the Council
meeting-house, with space to accommodate the
benches used during meetings; and the Building of
the Duoviri*, the magistrates who governed the city.
All overlook a portico that connects them to the
Comitium and the Basilica, thereby constituting a
group of buildings linked to civilian city life.
106
REGIO VIII
4
House of Championnet
The House of Championnet is one of the most

sumptuous homes of Pompeii, which covers at least
four levels sloping scenically towards the sea.
The house consists of a rich atrium* with four
columns and with multi-coloured mosaic floors
and geometric decorations. A thermal system was
installed in the rooms situated on the lower floors,
already active in the late republican era (2nd-1st
century BC).
The rich wall decorations were reproduced in many
designs from the late 18th century and the early 19th
century.
107
REGIO VIII
5
House of the Geometric

Mosaics
It is one of the largest

houses in the entire
city with over 60 rooms
and occupies an area
of 3000 square metres.
It scenically extends on
two levels with a series
of terraces, exploiting
the natural slope of the
land, offering guests who
entered the panorama of
the valley of the Sarno. It
is richly decorated with
black and white floor
mosaics in labyrinth and
checkerboard patterns.
The house derives from the union of two pre-
existing atrium* houses and shows the typical
layout of a Roman house: a large atrium followed
by the tablinum*, which provided access to the
portico and the large peristylium*. The construction
of the peristylium led to further expansion of the
dimensions of the house, which reached the Forum
area.
The appearance that can be seen today derives from
the restoration works after the earthquake in 62 AD,
when the façade was rebuilt.
1932.
108
REGIO VIII
6
House of the red walls
The original layout of the building dates back to the

Republican age and has changed significantly after
the earthquake of 62 AD and renovation works were
still in progress at the time of the eruption in 79 AD
as evidenced by the presence of unpainted plaster
on the walls of various rooms.
In two of them the wall decoration was already
completed with its characteristic red colour that
named the house.
The lararium*, which is a small aedicula, is found in
the atrium*, intended for domestic worship, where
six bronze statues of protective deities of the house
were found.
109
REGIO VIII
7
Triangular Forum
The Triangular Forum, which takes its name from

its unique shape, stands on a ridge of lava rock that
overlooked the valley and the mouth of the river
Sarno and preserves one of the oldest sacred areas
in the city dating back to the 6th century BC.
It was accessed from via dei Teatri, through
a hallway with six columns that formed the
monumental façade, preceded by a public fountain.
The inner portico was built in the 2nd century BC
and surrounds the area of the Doric Temple with tuff
columns.
A double rectangular enclosure before the stairs to
the temple has been interpreted as the tomb of the
legendary founder of the city, Heracles. A well is
found behind the closed off area, surrounded by a
circular building (tholus) with Doric columns, built
by the Samnite* magistrate Numerius Trebius.
The Samnite Palaestra opened on the eastern side.
Date of excavation: 1765; 1767-1768; 1813; 1899;
1905; 1931; 1981-1996.
110
REGIO VIII
8
Doric Temple - Sanctuary

of Athena and Hercules
The Doric Temple stood on the spur that dominated

the bay in which the harbour is located, built entirely
of limestone (6th century BC), with a multi-coloured
terracotta roof, continually updated over the years,
as evidenced by the architectural terracotta now
exposed at the Antiquarium.
The layout of the temple and the shape of
the columns recall the Greek Doric style with
adaptations and concessions to local tradition in the
Campania region.
An inscription in the Oscan language has allowed
the attribution to Athena and the goddess
seems associated with Hercules even in the clay
decorations, in sculptures all round, reliefs and
antefixes. With the Sanctuary of Apollo (see page
83) it was one of the sacred poles of the city, a
place of integration and safekeeping of social order.
Date of excavation: from the 18th century.
111
REGIO VIII
9
Samnite Palaestra
It's called "Samnite" because the construction, as

evidenced by an dedicated inscription, dates back
to pre-Roman times, when Pompeii was inhabited
by people belonging to the Samnite people (2nd
century BC). The original colonnade of tuff columns,
turned around the central courtyard but during the
renovation works of the nearby temple of Isis, the
east side was demolished. There is the pedestal at
the centre of a short side where they carried out the
award-ceremonies and events.
According to the Greek model, the palaestra was
used for men and boys to train; not by chance, a
door connects the courtyard of the palaestra to
the Triangular Forum, where a track was found for
racing. To emphasise the athletic-military aspect
of the building, the people of Pompeii placed a
marble statue in the courtyard, now at the National
Archaeological Museum of Naples, a faithful copy
of a very famous work of art, Doryphoros ("spear-
bearer"), made by one of the most famous Greek
sculptors in the 5th century BC, Polykleitos.
112
REGIO VIII
10
Large Theatre
The Grand Theatre was built by exploiting the

natural slope of the hill for the construction of the
auditorium. The staircase was separated into three
areas with corridors, which were in turn divided
into five sectors, and was based on a passage with a
barrel vault.
It was built around the middle of the 2nd century BC
and significantly restored according to the Roman
stlye. An inscription, visible at the entrance of the
corridor that provides access to the east and that
is one of the very few representations known with
reference to the name of the architectus, recalls the
works carried out in the Augustan age by Marcus
Artorius Primus.
These works concern the scene and the stage, the
adoption of the velarium, a large tarp used as a
cover for the warmer days and the numbering of the
seats. In the theatre they represented comedies and
tragedies of Greek-Roman tradition.
The theatre was the first large public building
completely freed from the deposits of the eruption.
Date of excavation: 1764-1765; 1767-1769; 1773;
1789; 1791-1794; 1902; 1951.
113
REGIO VIII
11
Quadriporticus of the
theatres or Gladiators
Barracks
Behind the scene of the Large Theatre (see page

113) covers a large quadrangle surrounded by 74
Doric grey tuff columns of Nocera used as a foyer,
an area where the spectators could stop during the
intervals of the theatre shows.
After the earthquake of 62 AD the building changed
its function and became a barracks for gladiators,
which resulted in certain parts of the building being
reorganised. The most important rooms were those
on the eastern side whereas the rooms upstairs
may have been the apartments of the undertaker
of the gladiators. Rich weapons used in the parades
that preceded the battles and are now kept in the
National Archaeological Museum of Naples were
found in two wooden boxes. Many victims were
found here, such as four skeletons of slaves found
near ceppi and 18 people were found in a room,
including a woman with a very rich collection of
jewels.
114
REGIO VIII
12
Small Theatre - Odeon
The Odeon or theatrum tectum as it was called by

the Romans, was built during the early years of the
colony (79 BC), as evidenced by an inscription, as
requested by two local magistrates, Marcus Porcius
and Caius Quinctius Valgus who also requested the
construction of the amphitheatre. This building was
the place dedicated to the representation of the
most popular theatrical genre at the time, miming,
and could also be used for musical and singing
performances. It was richly decorated with multi-
coloured marbles whereas large male tuff figures
(telamones*) supported the steps. The structure was
completely covered by a functional roof to improve
the acoustics. The plaster of the external masonry
retains many graffiti of the spectators of the shows
that were held here, sometimes even from very
distant regions.
115
REGIO VIII
13
Temple of Aesculapius
or Jupiter Meilichios
Since the discovery of the temple, the smallest

of the religious buildings of Pompeii, it sparked a
vivacious debate on the divinity that was worshiped
here. On the basis of an inscription in the Oscan
language it was thought that the temple was
dedicated to Jupiter Meilichios (sweet as honey),
a deity linked to the underworld whose places of
worship usually stood outside the village.
Most probably the temple was dedicated to
Asclepius, patron of medicine, as indicated by
the discovery of a terracotta statue, today at the
National Archaeological Museum of Naples, and a
medical kit.
At the centre of the courtyard there is the tuff altar;
a steep staircase leads to the temple with four
columns on the façade and two on the sides, with
Corinthian capitals decorated with a bearded male
head. In the cell there were the foundations of the
cult statues of Asclepius and Hygeia.
The temple was probably built between the 3rd and
the 2nd century BC.
116
REGIO VIII
14
Temple of Isis
When the Temple of Isis was

discovered by excavators its
decoration and furnishings
were almost intact, thereby
contributing decisively to
introduce Pompeii to the
world.
The ancient cult of
the Egyptian goddess
spread throughout the
Mediterranean as from the 3rd century BC; it was a mystery
cult, that is reserved for the initiates.
The myth tells the story of Isis who retrieves the parts of
her spouse Osiris, killed and dismembered by Seth, who
recomposed him and revived him with her magical limbs,
thereby becoming the life-giving deity.
The cult was particularly popular among the lower classes
of Pompeii, simply for the message of hope for a life
beyond death.
There is the temple on a high basis* at the centre of a
portico-style courtyard; the altar, the pit for the offerings to
be discharged and a small building (purgatorium) are found
in the area at the front, inside which there is a staircase
that leads to the basin from which water was drawn for the
offerings, which was said to derive directly from the Nile.
A large hall behind the temple was dedicated to meetings
of the initiates (ekklesiasterion) and paintings could be
viewed in a smaller one (sacrarium), which illustrated
episodes of the myth of the goddess.
Mozart, who visited Pompeii in 1770 with his father,
Leopold, was so impressed by this temple that inspired
the scenes of the first performance of the "Magic Flute" in
Vienna in 1791.
All the furnishings and statues are on display at the National
Date of excavation: 1764; 1958-1959 e 1988-1991.
117
REGIO VIII
15
House of the Cornelii

DOMUS CORNELIA
The house that opens on Via Stabiana has a regular

layout: the marble impluuium* is situated at the
centre of the atrium* and on its edge there was an
elegant table with feline-paw shaped feet, which
today can only be seen in many paintings of the
late 19th century when the house, where the most
comprehensive sculptural ornaments known then
were exhibited (now in the Forum Granary), was a
fixed landmark ; the peristylium* with Doric columns
is found in the rear part. The marble portrait bust
of the owner Caius Cornelius Rufus, now at the
Antiquarium of Pompeii, was originally placed at the
doors of the atrium.
1893.
118
Regio IX
1 House of Marcus Lucretius in via Stabiana . . . 122
2 Central Baths . . . . . . . . . . . . . . . . . . . 123
3 House of Obelius Firmus. . . . . . . . . . . . . 124
4 House of Julius Polybius . . . . . . . . . . . . . 125
5 Insula of the Lovers Chaste . . . . . . . . . . . 126
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REGIO IX
1
House of Marcus Lucretius

in via Stabiana
DOMUS M. LUCRETI
The house is the result of two originally independent

houses being joined, as indicated by the irregular
layout, with two atriums* set at right angles and
placed on different levels.
The paintings of mythological subjects, decorating
the rooms that open on the atrium and dating back
to the last period of Pompeii are of good level,
and some of them can be seen at the National
The interest point of the house lies in the small
garden, which has a higher level overlooking the
atrium area and featuring special decorative care in
the elegant marble waterfall fountain supplied by
a jet of water that gushed from a statue of Silenus.
There were four herms and marble figurines of
Erotes and Sileni in different formats in the garden,
around the circular bath. The house is named after
a small painting in which writing instruments are
represented, including a letter addressed to Marcus
Lucretius, decurion of Pompeii and priest of Mars.
122
REGIO IX
2
Central Baths
The biggest thermal baths in the city, which cover an

entire block of the IX region, was under construction
at the time of the eruption, according to innovations
introduced in thermal architecture in the new
complexes built in Rome, such as the baths of Nero,
whose splendour was acknowledged even by a critic
such as Martial, who quipped: "What is worse than
Nero? What is better than the baths of Nero?". The
eruption has preserved the site in an incomplete
state but the ambitious project is understood from
the façade overlooking the courtyard.
The rooms for the baths are brighter and more
spacious than other baths in Pompeii.
However, the women's and men's quarters are not
separated and supposedly different time slots were
applicable for women and men.
123
REGIO IX
3
House of Obelius Firmus
It is one of the largest and most complex houses

of Pompeii, with its façade that takes up the entire
short side of the block. The house has two atriums*
and a peristylium*. The first atrium with Corinthian
tuff columns was monumental and solemn, adorned
with stylish marble furniture which evidenced the
wealth of the owner. It included a marble table
with lion-paw shaped feet, a grooved base which
supported a marble statue of Satyr, and a collection
basin for a fountain. The wooden safe, covered with
a sheet of iron found during the excavations,
is exposed on the right side of the atrium.
The second atrium, with Doric columns, was
surrounded by residential and service areas.
The house was built in pre-Roman times for a local
high level family; it is not clear whether this was one
of the Obellii, who lived in the house before
the eruption and played a prominent role in political
city life.
124
REGIO IX
4
House of Julius Polybius
The house, with its severe façade, is one of the

rare examples of dwellings in the middle-Samnite
age (3rd-2nd century BC), with an unusual layout
compared to the majority of the houses in the city.
The atrium* is followed by a closed area with a
painted door that covers an existing door, relating to
a previous phase of the house.
Near the door there is a heap of lime that evidences
the restoration works in progress at the time of the
eruption. There is a large fresco in the triclinium*
with scenes of punishment of Dirce, bound by a
bull, an iconographic theme very popular also in
sculpture. The desire of the owner of the house to
show the guest his wealth and sophistication can
be seen in some objects found, which were meant
to inspire awe in the visitor: such as a bronze statue
of Apollo, a vase with mythological depictions and
a large bronze jug that can be dated to the 5th
century BC, which is an antique item.
125
REGIO IX
5
Insula of the Lovers Chaste
The insula is composed of several houses and

a bakery. It's been the subject of archaeological
excavations until recently, but has not yet been
entirely investigated. At the time of the eruption
of 79 AD restructuring works were in progress,
perhaps to repair the damage of an earthquake
that had occurred a few days before, as evidenced
by the water system works and the redecoration
in progress in a large room of the House of
the Painters at Work, on the walls of which the
preparatory drawings made before the colour
was applied to the fresco was found, suddenly
interrupted by the disaster.
The insula is named after the decoration of a
triclinium* with paintings depicting three banquets
set in as many moments of the year, including
summer with the languid kiss being exchanged
between two lovers. Skeletons of mules used to turn
the millstones present and load the grain necessary
for the production of bread were found in the barn
adjoining the bakery.
126
Glossary
ATRIUM: large room on to which the most

important rooms open, and it was accessed from
the street with a corridor. In more ancient times
it formed the core of the house, then the focal
point of domestic life moved on to the internal
porticoed garden, the peristylium*, whereas the
atrium was used for representative purposes.
COMPLUUIUM: opening in the roof of the atrium*,

a source of light and air for the house. The
inclined pitch of the roof conveys the rainwater
into the underlying impluuium* that drained into
the cistern placed beneath it.
CUBICULUM: in Latin it meansbedroom. Generally,

they were small to facilitate heating in the winter
months
DUOVIRI: The magistrate of the highest rank of the

Roman colonies and then in the municipalities.
As indicated by the Latin name, , it referred to a
couple of magistrates elected for a year, who had
political and administrative tasks.
AEDICULA: diminutive of the Latin term aedes

(house) that indicated a shrine. Dedicated to
public and private worship, it consists of a niche
with the characteristics of temples, tympanum
supported by columns, with or without wooden
doors, inside of which there are statues of
protective deities of the house: Lares and
Penates.
It is commonly referred to as Lararium*.
EXEDRA: a room in front of or near the atrium*,

open towards the peristylium* and fitted with
128
removable seats; it was intended as a sitting and
chatting room. It often featured an apse.
EURIPUS: in Greek it means narrow. In Rome it

indicated the channel that Caesar had requested
to be dug around the arena of the Circus
Maximus to protect the spectators from the
attacks of wild beasts. The term is also used for
the fountains in the garden characterised by a
long channel lined with statues and architectural
constructions. The most famous is the Canopus,
in the villa of the emperor Hadrian in Tivoli.
PYROCLASTIC FLOW: a burning cloud that reaches

five hundred degrees, composed of a solid
part (stones, pumice, lapilli) and a gas (water
vapour, nitrogen dioxide and carbon monoxide).
Typical Plinian eruption of Vesuvius, descends
at high speeds from the slopes (about 80 km/h),
destroying everything along its path.
FORNIX: In architecture, the term refers to both a

large arched opening for public transit as well
as for rooms with arched vaults (triumphal and
honorary arches, city gates, aqueducts, access to
amphitheatres and theatres, etc.)
GRIFFIN: legendary animal with a lion's body and an

eagle's head. Companion and servant of the god
Apollo.
HYPOGEUM: Natural or built underground room,

which can be used as a dwelling, burial place or
place of worship.
129
Glossary
LIBERTUS: freed slave with the ceremony of

manumission. He acquired the forename, name
and status of the former owner, who he was
bound to by means of loyalty.
IMPLUUIUM: a quadrangular basin for the collection

of rainwater placed in the atrium* in line with the
opening and connected to a cistern below.
LARARIUM: aedicula* where the statues of the

Lares are found, protective deities of the home
and public spaces. In domestic worship they
represented the ancestors (Lares familiares), they
were depicted as young men with a short tunic
and high boots, while they poured wine from
the rhyton (a horn-shaped cup). Every important
event was put under the protection of the Lares
with sacrifices and offerings: for example, the
coming of age, the starting point of a trip or
return of someone, marriage and births.
OECOS: this is the most important room of the

Roman house, often used as a triclinium* for
banquets. As the luxury in homes increased,
so did the layout with columns that supported
the high ceilings: the tetrastyle oecus has
four columns; the Corinthian has two rows
of columns on the sides that form aisles; the
Egyptian is similar to the previous one but has a
lower ceiling and skylights to illuminate the area.
OSCAN: the language spoken by Samnites* and

other populations from the centre of Italy
distributed along both sides of the Apennines,
from the Sabina to Lucania areas.
130
PERISTYLIUM: courtyard surrounded by porticoes.
A particular type of peristyle, very elegant and
derived from Greek models, is the "rhodium" type,
that is, with the north side portico higher and
deeper.
BASIS: raised podium on which the actual temple

is found, which isolated the sacred building,
thereby increasing its importance.
SAMNITES: or Sabelli were italian people allocated

in Sannio, the area corresponding to the current
territories of the north-eastern Campania region,
upper part of Apulia, most of Molise, lower part
of Abruzzo and upper part of Lucania. The pre-
Roman inhabitants of Pompeii. During the 4th
century BC they came into contact with Rome
and were only subdued by the militarily after
almost 50 years of war. Their language was still
spoken Oscan* in Roman times, as indicated
by the inscriptions of Pompeii, dated to the 1st
century BC.
SECTILE: the opus sectile is a decorative technique

for floors and walls, one of the finest in terms
of the use of luxurious materials (usually fine
marble) as well as for implementation difficulties.
In fact, the marble must be sectioned in thin
sheets so as to compose multi-coloured inlays.
The technique was then used in the West
throughout the Roman Empire and continued to
be applied in the East, in Byzantine basilicas
SUBURBAN: from the Latin sub and urbs (city). It

indicates the space immediately outside the city
walls.
131
Glossary
TABLINUM: it is the room that opens on the

atrium*, opposite the entrance, and separates
it from the peristyle*. It is the main room of
the house, the office of the landlord, where he
received clients. It was originally the bedroom of
the owner.
TELAMONES: male figures all round or in high relief,

used as a structural or decorative support instead
of columns or other elements.
SUGGESTUM: it takes its name from the stage

where the tribunes (tribunal) spoke from. It
indicates the space reserved for the magistrate
who presided the hearings in the Roman basilica.
TRICLINIUM: the dining room of the Roman

houses; it takes its name from three beds, on
which the guests and the hosts lay on, three to
a bed, which were placed on the three sides of
the room, leaving the fourth free for service.
Generally, it was open on to the garden so that
the guests could enjoy the view of the greenery.
VIRIDARIUM: garden of the Roman houses, often

adorned with statues and fountains. It is located
in the centre of the peristyle*.
132
Alphabetical index
A
Achilles (House of the Lararium of A.) p. 17
Adonis (House of A. wounded) p. 64
Aesculapius (Temple of A. or Jupiter Meilichios) p. 116
Amphitheater p. 34
Anchor (House of the A.) p. 57
Ancient (House of the A. Hunt) p. 99
Apollo
Apollo (House of A.) p. 72
Apollo (Sanctuary of A.) p. 83
Aquae (Castellum A.) p. 69
Ara (House of the A. Maxima) p. 68
Arches (Honorary A.) p. 88
Athena (Doric Temple - Sanctuary of A. and Hercules) p. 111
Augusta
Augusta (Portico of Concordia A. (Building of Eumachia)) p. 94
Augusta (Temple of Fortuna A.) p. 90
Augusti (Temple of Genius A. (Temple of Vespasian)) p. 93
B
Bakery (B. of Popidio Prisco) p. 98
Barracks (Gladiators B.) p. 48
Barracks (Quadriporticus of the theatres or Gladiators B.) p. 114
Basilica p. 105
Baths
Baths (Central B.) p. 123
Baths (Forum B.) p. 89
Baths (Stabian B.) p. 95
Baths (Suburban B.) p. 80
Boarium (Forum B.) p. 33
Bracelet (House of Marcus Fabius Rufus and the Golden B.)
p. 100
C
Casca (House of C. Longus or Quadretti teatrali) p. 15
Castellum (C. Aquae) p. 69
Castor & Pollux (House of C.) p. 65
Cecilio (House of C. Giocondo) p. 51
134
Ceii (House of the C.) p. 19
Central (C. Baths) p. 123
Championnet (House of C.) p. 107
Chaste (Insula of the Lovers C.) p. 126
Citharist (House of the C.) p. 14
Comitium (C. and municipal buildings) p. 106
Concordia (Portico of C. Augusta (Building of Eumachia)) p. 94
Cornelii (House of the C.) p. 118
Cryptoporticus (House of the C.) p. 18
Cubicles (House of the Orchard or of the Floral C.) p. 24
Cupids (House of the Golden C.) p. 67
D
Diomede (Villa of D.) p. 76
Doric (D. Temple - Sanctuary of Athena and Hercules) p. 111
E
Ephebe (House of the E.) p. 22
Eumachia (Portico of Concordia Augusta (Building of E.)) p. 94
Europa (House of the E. Ship) p. 25
F
Fabius (House of Marcus F. Rufus and the Golden Bracelet) p. 100
Faun (House of the F.) p. 56
Felice (Praedia of Giulia F.) p. 32
Firmus (House of Obelius F.) p. 124
Floral (House of the Orchard or of the F. Cubicles) p. 24
Fortuna (Temple of F. Augusta) p. 90
Forum
Forum p. 84
Forum (F. Baths) p. 89
Forum (F. Boarium) p. 33
Forum (F. Granary) p. 86
Forum (Triangular F.) p. 110
Fountain (House of the Small F.) p. 58
Frontone (House of Marco Lucretius F.) p. 49
Fugitives (Garden of the F.) p. 27
Fullery (F. of Stephanus ) p. 16
135
Alphabetical index
G
Garden
Garden (G. of the Fugitives) p. 27
Garden (House of the G. of Hercules) p. 37
Gate
Gate (Herculaneum G. and walls) p. 74
Gate (Marina G. and walls) p. 81
Gate (Necropolis of Nocera G.) p. 39
Gate (Necropolis of Nola G.) p. 45
Gate (Necropolis of the Herculaneum G.) p. 75
Gate (Nocera G. and walls) p. 38
Gate (Nola G. and walls) p. 44
Genius (Temple of G. Augusti (Temple of Vespasian)) p. 93
Geometric (House of the G. Mosaics) p. 108
Giocondo (House of Cecilio G.) p. 51
Giulia (Praedia of G. Felice) p. 32
Gladiator (Osteria of the G.) p. 26
Gladiators
Gladiators (G. Barracks) p. 48
Gladiators (Quadriporticus of the theatres or G. Bar-
racks ) p. 114
Golden
Golden (House of Marcus Fabius Rufus and the G. Bracelet) p. 100
Golden (House of the G. Cupids) p. 67
Granary (Forum G.) p. 86
H
Herculaneum
Herculaneum (H. Gate and walls) p. 74
Herculaneum (Necropolis of the H. Gate) p. 75
Hercules
Hercules (Doric Temple - Sanctuary of Athena and H.) p. 111
Hercules (House of the Garden of H.) p. 37
Hunt (House of the Ancient H.) p. 99
I
Insula (I. of the Lovers Chaste) p. 126
Isis (Temple of I.) p. 117
136
J
Julius (House of J. Polybius) p. 125
Jupiter
Jupiter (Temple of Aesculapius or J. Meilichios) p. 116
Jupiter (Temple of J.) p. 87
L
Lararium (House of the L. of Achilles) p. 17
Lares (Sanctuary of the Public L.) p. 92
Large
Large (L. Palaestra) p. 35
Large (L. Theatre) p. 113
Longus (House of Casca L. Quadretti teatrali) p. 15
Lovers (Insula of the L. Chaste) p. 126
Lucretius
Lucretius (House of Marco L. Frontone) p. 49
Lucretius (House of Marcus L. in via Stabiana) p. 122
Lupanar p. 97
M
Macellum p. 91
Marco (House of M. Lucretius Frontone) p. 49
Marcus
Marcus (House of M. Fabius Rufus and the Golden
Bracelet) p. 100
Marcus (House of M. Lucretius in via Stabiana) p. 122
Marina (M. Gate and walls) p. 81
Maxima (House of the Ara M.) p. 68
Meilichios (Temple of Aesculapius or Jupiter M.) p. 116
Meleager (House of M.) p. 71
Menander (House of the M.) p. 20
Mensa (M. Ponderaria) p. 85
Moralist (House of the M.) p. 43
Mosaics (House of the Geometric M.) p. 108
Mysteries (Villa of the M.) p. 77
N
Naples (House of the Prince of N.) p. 70
137
Alphabetical index
Necropolis
Necropolis (N. of Nocera Gate) p. 39
Necropolis (N. of Nola Gate) p. 45
Necropolis (N. of Porta Vesuvio) p. 52
Nocera
Nocera (Necropolis of N. Gate) p. 39
Nocera (N. Gate and walls) p. 38
Nola
Nola (Necropolis of N. Gate) p. 45
Nola (N. Gate and walls) p. 44
O
Obelius (House of O. Firmus) p. 124
Octavius (House of O. Quartio) p. 30
Odeon (Small Theatre - O.) p. 115
Orchard (House of the O. or of the Floral Cubicles) p. 24
Osteria (O. of the Gladiator) p. 26
outdoors (House of the Triclinium o. or summer) p. 36
Oven (House of the O.) p. 62
P
Palaestra
Palaestra (Large P.) p. 35
Palaestra (Samnite P.) p. 112
Pansa (House of P.) p. 61
Paquius (House of P. Proculus) p. 21
Placidus (House and Thermopolium of Vetutius P.) p. 23
Poet (House of the Tragic P.) p. 59
Polybius (House of Julius P.) p. 125
Ponderaria (Mensa P.) p. 85
Popidio (Bakery of P. Prisco) p. 98
Porta (Necropolis of P. Vesuvio) p. 52
Portico (P. of Concordia Augusta (Building of Eumachia)) p. 94
Praedia (P. of Giulia Felice) p. 32
Prince (House of the P. of Naples) p. 70
Prisco (Bakery of Popidio P.) p. 98
Proculus (House of Paquius P.) p. 21
Public (Sanctuary of the P. Lares) p. 92
138
Q
Quadretti (House of Casca Longus or Q. teatrali) p. 15
Quadriporticus (Q. of the theatres or Gladiators Barracks ) p. 114
Quartio (House of Octavius Q.) p. 30
R
red (House of the r. walls) p. 109
S
Sailor (House of the S.) p. 82
Sallust (House of S.) p. 63
Samnite (S. Palaestra) p. 112
Sanctuary
Sanctuary (Doric Temple - S. of Athena and Hercules)
p. 111
Sanctuary (S. of Apollo) p. 83
Sanctuary (S. of the Public Lares) p. 92
Sanctuary (S. of Venus) p. 104
shell (House of Venus in the s.) p. 31
Ship (House of the Europa S.) p. 25
Silver (House of the S. Wedding) p. 50
Sirico (House of S.) p. 96
Small
Small (House of the S. Fountain) p. 58
Small (S. Theatre - Odeon) p. 115
Stabiana (House of Marcus Lucretius in via S.) p. 122
Stabian (S. Baths) p. 95
Stephanus (Fullery of S.) p. 16
Suburban (S. Baths) p. 80
summer (House of the Triclinium outdoors or s.) p. 36
Surgeon (House of the S.) p. 73
T
teatrali (House of Casca Longus or Quadretti t.) p. 15
Temple
Temple (Doric T. - Sanctuary of Athena and Hercules) p. 111
Temple (Temple of Genius Augusti (T. of Vespasian)) p. 93
Temple (T. of Aesculapius or Jupiter Meilichios) p. 116
139
Alphabetical index
Temple (T. of Fortuna Augusta) p. 90

Temple (T. of Isis) p. 117
Temple (T. of Jupiter) p. 87
Theatre
Theatre (Large T.) p. 113
Theatre (Small T. - Odeon) p. 115
theatres (Quadriporticus of the t. or Gladiators Bar-
racks ) p. 114
Thermopolium
Thermopolium p. 60
Thermopolium (House and T. of Vetutius Placidus) p. 23
Tragic (House of the T. Poet) p. 59
Trebio (House of T. Valente) p. 42
Triangular (T. Forum) p. 110
Triclinium (House of the T. outdoors or summer) p. 36
V
Valente (House of Trebio V.) p. 42
Venus
Venus (House of V. in the shell) p. 31
Venus (Sanctuary of V.) p. 104
Vespasian (Temple of Genius Augusti (Temple of V.)) p. 93
Vesuvio (Necropolis of Porta V.) p. 52
Vettii (House of the V.) p. 66
Vetutius (House and Thermopolium of V. Placidus) p. 23
Villa (V. of Diomede) p. 76
W
walls (House of the red w.) p. 109
Wedding (House of the Silver W.) p. 50
wounded (House of Adonis w.) p. 64
140
Rules for visiting
the excavations
The archaeological site of Pompeii, which covers about

44 excavated hectares, 22 of which can be visited, pre-
sents irregular walking surfaces due to its nature. There-
fore, you are kindly asked to pay utmost attention during
the tour in order to avoid accidents, for which the Board
of Cultural Heritage can not be held liable.
Please note that in the archaeological Vesuvian areas the
requirements of Legislative Decree no. 81/08 apply with
reference to the regulations of cultural heritage protec-
tion (Legislative Decree 42/2004).
Please find below some information and recommenda-

tions for your visit
ENTRANCE
The excavations have 3 entrances/exits: Marina Gate,
Exedra Square and Amphitheatre Square
The ticket offices are found at the entrances of Marina
Gate, Exedra Square and Amphitheatre Square.
Schools are required to use the entrance from Amphi-
theatre Square.
Villa of the Mysteries is only open for exit purposes.
LUGGAGE DEPOSIT
Handbags, backpacks, luggage and cases that exceed
dimensions of 30 x 30 x 15 cm are not allowed to be
introduced on site.
Students and tour groups visiting the excavations are
asked to kindly leave their backpacks on the bus.
A cloakroom service is available at the three entrances
to the excavations.
GUIDED TOUR SERVICE

Guided tours can be requested at the Porta Marina guide
points (Information Office) and Exedra Square between
9.00 and 14.00 hrs.
The service (not provided by the Board of Cultural Her-
itage) is carried out by qualified guides certified by the
Campania Region, who can be identified through special
badges.
141
Regulations
PICNIC AREA AND RESTAURANT

A restaurant is found within the excavations, near the
Forum, and a picnic area is found near Amphitheatre
Square and Casina dell’Aquila.
FIRST AID
First Aid service is found near the Forum. Telephone
(+39) (0) 81 8575404-406
FILMING & PHOTOGRAPHY

Photography and filming are allowed for private use
only. The use of flash is prohibited. Specific permission is
required from the Board of Cultural Heritage for filming
with a tripod or for commercial use.
RECOMMENDATIONS AND RESTRICTIONS

People with mobility difficulties and cardiovascular is-
sues are urged to implement utmost caution. It is rec-
ommended to wear comfortable shoes. It is strictly for-
bidden to access areas that are closed off with barriers
and bollards.
Please pay attention and do not approach the frescoed
walls, do not climb on or sit on walls and on archae-
ological and architectural structures in the area. Kindly
behave in a respectful manner and refrain from shout-
ing, writing on the walls and dispersing waste rather than
placing it in the appropriate containers.
NO SMOKING
Smoking is strictly prohibited inside the excavations.
Smoking areas are found on the terrace of Casina
dell'Aquila and near the restrooms.
ANIMALS
Large dogs are not allowed in the archaeological site.
Pets allowed must be fitted with a leash and carried in-
side buildings.
You are asked not to approach unsupervised animals
that may be in the area.
142
Notes
Notes
Notes
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A Guide To The Pompeii Excavations 2 PDF

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A Guide to the

Board of Cultural Heritage

This guide contains brief

A brief history of the ancient city and the

Overall plan of the Pompeii Excavations . . p. 10

Alphabetical index . . . . . . . . . . . . . . p. 134

Rules for visiting the excavations . . . . . . p. 141

Pompeii rises on a plateau at about 30 metres

In the following pages, the terms mentioned

Necropoli di P. Stabia nio

House of the Citharist

The house, one of the largest in the city covering an

House of Casca Longus

The complex is composed of two adjoining houses

This production facility, designed for the washing

House of the Lararium

The house has a rich and reﬁned pictorial decoration

The house, with its elegant wall decoration, was

House of the Ceii

The severe façade of the house, featuring panels of

House of the Menander

This large house was involved in the development

House of Paquius Proculus

The ﬁrst layout of the

House of the Ephebe

Typical dwelling of middle class merchants,

House and Thermopolium

The thermopolium (Latin word formed from

House of the Orchard

The house has an atrium* layout with a green area at

House of the Europa Ship

Just like the fullery of Stephanus (see page 16)

Osteria of the Gladiator

The complex is formed by the union of several

Garden of the Fugitives

This area, once taken up by homes, had been

1 House of Octavius Quartio . . . . . . . . . . . 30

House of Octavius Quartio

The house, which looks like a "miniature version"

House of Venus in the shell

The house was built in the 1st century BC and

Praedia of Giulia Felice

The large complex of properties of Giulia Felice

When the ﬁrst excavations took place, in the early

This amphitheatre is the oldest among those known

The "Large Palaestra" consists of a large open air

House of the Triclinium

Overlooking via di Nocera, behind the Large

House of the Garden

It falls under the terraced type of homes, atrium*

Nocera Gate and walls

The original layout of this gate, which provided

Necropolis of Nocera Gate

The necropolis is set on the sides of a road that runs

House of Trebio Valente

The house, with its lobby in the atrium* and

House of the Moralist

The house derives from two different homes being

Nola Gate and walls

Nola Gate is called so because it led to the road that

Necropolis of Nola Gate

Only four monumental tombs are known: two

The building constituted the headquarters of the